SKU: HL.361162

ISBN 9781705126530. UPC: 840126950342. 9.0x12.0 inches.

Do-It-Yourself Ear Training is designed to empower you with essential listening skills, problem-solving abilities, goal setting, and a deeper understanding of yourself as a musician. Develop a strong musical intuition, by diving into introspective exercises designed to explore your musical identity and unlock your full potential as a musician on your terms. The power to cultivate your ear and deepen your understanding of music is now literally in your hands â?? no matter where you are! You'll learn how to: â?¢ Sharpen your listening skills â?¢ Enhance problem-solving skills â?¢ Set goals for musical growth â?¢ Optimize productivity and efficiency â?¢ Feel the rhythm, master time â?¢ Visualize and meditate A full audiobook is included, allowing you to practice anytime, anywhere. Whether you're on a morning commute, lounging at home, or taking a walk in the park, simply plug in your headphones and dive into a world of musical exploration! The price of this book includes access to audio tracks online, for download or streaming, using the unique code on page 1. It includes PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right available exclusively from Hal Leonard.

English.

If beginning players learn the twelve major scales, twelve jazz melodic minor scales, two whole tone scales and three diminished scales, they will be able to negotiate more than 95% of the chords that will be coming their way. Many corresponding scales that fit chords are simply modes of one the above scales. A major scale gives seven modes that fit seven different chords. Times that by twelve and 84 chords can be covered by simply knowing the twelve major scales. It can sound overwhelming, not to worry, after all music is about what you have to say not how many musical nick-knacks you collect. Jazz players of all eras have looked for new devices to experiment with. Students are no different. Once I have given the foundation of the above scales I let students choose a sound or device that they like. This book is a result of that teaching perspective. It is also a result of me being tired of writing out the same information year after year and serves as a compilation of many jazz improvisation and compositional techniques. Learning them all is not the goal. The book is simply a collection and includes brief explanations and drills to help utilize a new sound into a player's vocabulary. This text can be used individually or in a group of any instrument combination. A good number of the chapters are organized specifically for this.