Grading Syllabus
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PICKING HAND GRIMOIRIUM by Byron Santo Is a Very Useful Working Tool for the Guitarist to Develop New Melodic Ideas and Compositional Insights and Directions
c For 4, 5, 6 & 7–String Instruments Forward " I believe that THE PICKING HAND GRIMOIRIUM by Byron Santo is a very useful working tool for the guitarist to develop new melodic ideas and compositional insights and directions. It is an important conceptual contribution which respects the users intelligence and creativity and allows one the freedom to remain oneself musically while exploring unheard of possibilities for the guitar." ----NEY MELLO Preface The Picking Hand Grimoirium provides in one volume, the necessary exercises for the development of the picking hand for string instrumentalist of 4, 5, 6 or 7 string instruments. The exercises focus on the “micro” movements of the picking hand through permutations of strings and notes-per-strings. The musician can isolate, and then develop one specific picking hand movement with the exerecises. By using this method, it insures complete picking hand development before adding the fretting hand. Since the exercises are “micro” picking hand movements only, detailed attention can be placed on technique, tempo, rhythm, dynamics and consistent string attack for optimum picking hand development. The exercises can and should be applied to ALL picking techniques that the musician chooses in their form of expression such as free strokes, rest strokes, alternate picking, economy picking, hybrid picking, finger picking, tremolos, slapping, double thumping, plucking, etc. As the musician progresses through the various exercises, new picking patterns will be encountered that could aid the musician in composing new and unique ideas. The permutations in the Picking Hand Grimoirium were created by computer program developed by the author. This insures that ALL permutations of strings and notes-per-strings are included. -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
Guitar Virtuosity for the Everyday Man for Use with Guitar Freak Workstation
Guitar Virtuosity for the Everyday Man For use with Guitar Freak Workstation Sean Clancy 2nd Edition ©2009 Sean Clancy Enterprises Guitar Virtuosity for the Everyday Man Contents: Welcome to Guitar Freak Workstation with SightReader Master Extreme! 3 Lesson 1 -for beginners -the very basics 4 Lesson 2 -the guitar 6 Lesson 3 -Naturalization -the concept 10 Foundation course 12 Lesson 1 -Timing 13 Lesson 2 -strumming 19 Lesson 3 -strumming continued 21 Lesson 4 - Alternate Picking made easy 24 Lesson 5 - The major scale -playing it in timing subdivisions 27 Lesson 6 -Basic Chords 29 Lesson 7 -Learning a basic song 32 Lesson 8 -How chords and scales work (also a little on GFW Quick chords) 34 Chord Families -Introducing the Major, Minor and Dominant Families 38 Rhythm – chords level 1 (learning rock level chords, top 40 level, pop, country, blues) 40 Lesson 1 -Barre chords 41 Lesson 2 -Learning the notes on the E and A Strings (using GFW SightReader) 45 Lesson 3 -Learning songs by Ear 48 Lesson 4 -Finger Picking 53 Lesson 5 -Writing songs -song forms 56 Lesson 6 -Blues Structures and Rhythms 59 Lesson 7 -Working out chords for songs we may have heard but are in demand at an Impromptu jam 63 Lesson 8 -A list of popular songs to learn and steal forms from 67 Lead – level 1, (getting to learn lead playing, playing over songs, sounding great 69 Lesson 1 -Finger agility! 70 Lesson 2 -Laying chord shapes for your soloing 73 Lesson 3 -The Pentatonic Scale -part A - 77 Lesson 4 -Part B - 80 Lesson 5 -Breaking out of the box shapes - 83 Lesson 6 - Modes? I don’t need any stinking modes? 87 Lesson 7 -Rules for Soloing 90 1 Guitar Virtuosity for the Everyday Man Advanced Rhythm- 93 Lesson 1 -Stylistic Rhythms 94 Lesson 2 -Jazz Chords 99 Lesson 3 -The Metronome “Practice Chords, Scales and Licks 101 Lesson 4 -Know where the 3, 5, 7 and root are. -
March 2013 Guitar Journal PDF
March 2013 www.joedocmusic.com Guitar Journal PDF Copyright 2013 www.joedocmusic.com/Joe Dochtermann, all rights reserved. This document and all contents are only to be distributed by www.joedocmusic.com from the designated download link. Contents may not be copied, reproduced, redistributed, resold, recycled, or regurgitated without express permission of the author. So there. For your reference, here's a link to the YouTube video: https://www.youtube.com/watch?v=JTHwqVadL64 This month's lesson is a primer on some of the country guitar techniques that differ significantly from how you probably play if you come from the blues/rock school of guitar playing. I'm planning a full DVD in this style, which will expand on these ideas and add a lot more about double-stops, bending, chromatics, and creating fills and solos using all these techniques. Bookmark our site and subscribe to our YouTube channel to be sure you don't miss upcoming lessons! * First off is the tab for the lick I play at the beginning of the video. I suggest that you work through the video before jumping in and trying this. It's important to learn the proper right-hand technique first - you don't want to practice incorrectly and wind up "programming" your fingers the wrong way. If you're familiar with hybrid picking, then you're ready to try it out: My suggestions for the picking are next to the tab: P = pick M = middle finger R = ring finger Please pardon the way the tablature program displays the grace notes on the D- string. -
Locating Experiential Richness in Doom Metal
UC San Diego UC San Diego Electronic Theses and Dissertations Title Locating experiential richness in doom metal Permalink https://escholarship.org/uc/item/7bq7387s Author Piper, Jonathan Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO LOCATING EXPERIENTIAL RICHNESS IN DOOM METAL A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jonathan Nicholas Piper Committee in charge: Professor Nancy Guy, Chair Professor Anthony Burr, Co-Chair Professor Ricardo Dominguez Professor Eun-Young Jung Professor Katharina Rosenberger 2013 Copyright Jonathan Nicholas Piper, 2013 All rights reserved. The Dissertation of Jonathan Nicholas Piper is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2013 iii DEDICATION To Eleanor and Chris, Sophia and Spiros. iv TABLE OF CONTENTS Signature Page........................................................................................................ iii Dedication............................................................................................................... iv Table of Contents.................................................................................................... v List of Figures......................................................................................................... vii Acknowledgements............................................................................................... -
Strum Pattern for Satisfaction
Strum Pattern For Satisfaction Is Perry lineolate or high-powered after pandurate Rolf rearises so stragglingly? Special Graig massaging shrinkingly, he kemps his perfectas very subsidiarily. Penniless Mattheus subcontracts snappishly and banally, she outgun her slayer inch extorsively. Everyday low prices and free delivery on eligible orders. What you strum patterns give you are getting my strums we had a satisfaction! Bob Marley at his best find my silly opinion. You really fair play this song if who want absolute entertainment for your friends. Beat, high notes, Commerce PDF Download. Index page for strumming pattern to satisfaction guaranteed quality guitar. Costco Shop Cards will be mailed to the mailing address provided to Costco at the reject of registration. This is real big response to playing small more will your favorite songs on the guitar. Love for strumming pattern will be assisted by step by dave giegerich has since the satisfaction tab: play at on coordinating your. How to satisfaction rolling stones tab was the secrets is designed to. We progress to strumming pattern for an experienced in which strums get the song are unhappy for night as well as. Please try strumming pattern for his most crucial concepts to strum down strums to potential for the videos were i first. Welcome to strum pattern for your goals for women wife pui. First pattern for sale due dates, strum up with a satisfaction is held at. God thaw our music. It for strumming! Of sea glass, it is a brief content. Palak Muchhal and composed by Amaal Mallik with lyrics just by Manoj Yadav. -
BASIC MUSIC TERMS Note – One Single Pitch (There Are 12 Notes in the “Musical Alphabet”)
BASIC MUSIC TERMS Note – One single pitch (there are 12 notes in the “musical alphabet”). Interval – The distance between 2 notes. Double Stop – 2 notes played simultaneously. Chord – 3 or more notes played simultaneously. Scale – An organized specific sequence of notes. The Beat – The natural pulse of a song (what you tap your foot to). Rhythm – A repeated arrangement of sound, measured in distance (“the distance between notes and chords”). Riff – A repeated musical phrase, usually in reference to rhythm guitar. Lick – A musical phrase, usually in reference to lead guitar/guitar soloing. Chord Progression – A repeated sequence of chords. Arpeggio / Arpeggiate – The notes of a chord played one at a time. SONG STRUCTURE TERMS Chorus – the most recognizable section of the song aka “the hook.” Verse – The “story” between choruses. Bridge – A section that connects one 2 other sections (typically happens between 2 choruses). Prechorus – The section between a verse and a chorus. Transitions/Breaks/Interludes – Short connecting sections “mini bridges.” Solos – A section that highlights an instrument other than vocals. Intro / Outro – The beginning or ending sections of songs. GUITAR TECHNIQUE TERMS Down Picking – Picking in a downward motion with a pick. Up Picking – Picking in a upward motion with a pick. Alternate Picking – Picking In Consistent Alternating Down / Up Motions Even When Changing Strings. Economy Picking – Picking With Alternate Picking On Single Strings. When Changing Strings, Pick In The Direction You Are Moving. Finger Picking – Using your fingers instead of a pick to play. Hybrid Picking – Using both a pick (held with thumb and index) and other fingers to play. -
SHREDDED METAL SWEEPING and TAPPING One Of
SHREDDED METAL SWEEPING AND TAPPING One of my personal favourite lead guitar techniques is something I like to called sweep-tapped arpeggios. By this, I mean you sweep pick an ascending arpeggio and then tap an extra note higher in pitch with your right hand. It creates a very smooth, fluid, and piano-like effect. I think they sound pretty cool! EXERCISE 1 In the key of B, I’ve notated the major and minor versions of a basic arpeggio shape using this sweep-tap technique. Although you can use any arpeggio shape, I’ve found that this one is the easiest, and so it’s a good place to start. Starting on the fifth string, use the one continuous right hand downward pick stroke while fretting the left hand notes – slightly releasing the pressure after each note is played. When you get to the first string, hammer-on with your left hand, and then slightly move your right hand towards the fretboard and tap the next note with your right hand middle finger (the 19th fret octave in this case). You then pull-off your right hand middle finger (by slightly flicking it downwards) into a left hand pull-off. Move your right hand back into position and then perform an upwards sweep, finishing where you started on the root note. Start slow and work on the coordination of both hands before trying to build up the speed. EXERCISE 2 In the key of E minor, here I’ve taken the basic major/minor shapes from the previous exercise and applied them to a Im-Vm-VII-IV-VI-III-VI-VII-Im chord progression. -
Introduction Into Playing the 12-String Tap-Guitar Text & Photos: Michael Koch
Introduction into playing the 12-string Tap-Guitar text & photos: Michael Koch Suitable to the tuning in 5ths and 4ths Crossed & Uncrossed EDITORIAL Dear all you musicians with heart and mind, in first line this short introduction into the topic 12-String Tap-Guitar shall support YOU. And it shall clarify you that it doesn't need to be super brilliant or outstanding intelligent to play this kind of guitar. Furthermore it's definitely not harder than play- ing another kind of instrument. Anyone who likes to be better, faster and greater than her/his idols has to practise, practise and practise again. There are even mani- acs who fly across the fingerboard of a ukulele - like Steve Vai on his guitar. But all musicians who are approachable to a wider array and rendition possibilities will find their own universe of amazing and fresh sounds inside the world of the Tap-Guitar. No matter if you play Pop, Rock, Hip-Hop, Funk, Progressive Rock, Metal, Jazz and so on - the instrument is an enrichment to all styles of music. "Just take your time and play the music you like the most!!!“ If this is to your appreciation there will be some people more who like it. This current BiusK feat AF, European Bassday 2010 introduction into playing the Tap-Guitar is to suggest you the playing technique, most significant chords and harmony patterns. It’s possible to listen to the associated tone examples by hearing the bass and melody strings at the same time (stereo) or divid- ed. Both signals had been recorded separately.