| Introduction |
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1 | (4) |
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1 | (1) |
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2 | (1) |
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3 | (1) |
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3 | (1) |
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4 | (1) |
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Book I Piano & Keyboard 101 |
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5 | (92) |
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Chapter 1 Warming Up to the Piano and Keyboard |
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7 | (14) |
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What's So Special About the Piano? |
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7 | (2) |
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Advantages to playing the piano |
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8 | (1) |
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Advantages to learning music at the piano |
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8 | (1) |
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9 | (1) |
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Why People Learn to Play the Piano (and Why They Often Quit) |
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9 | (2) |
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Getting to Know the Piano as an Instrument |
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11 | (1) |
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Understanding the Language of Music |
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12 | (2) |
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Developing an ear for horizontal and vertical music |
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13 | (1) |
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Getting to know musical forms and styles |
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13 | (1) |
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14 | (1) |
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What You Already Know About Playing the Piano |
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14 | (1) |
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Electronic Keyboards and other Keyboard Instruments |
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15 | (2) |
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Examining keyboard designs throughout the years |
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15 | (1) |
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16 | (1) |
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Join the family: Grouping keyboards |
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16 | (1) |
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Making the Most of Your Keyboard's Basic Features |
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17 | (2) |
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17 | (1) |
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18 | (1) |
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Getting into automatic playing features |
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18 | (1) |
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Delving into More Advanced Digital Features |
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19 | (1) |
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Stepping into the virtual recording studio |
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19 | (1) |
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Shaping the sounds you play |
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19 | (1) |
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Checking out the computer connection |
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19 | (1) |
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Practicing with and without Help |
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20 | (1) |
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Chapter 2 Looking at the Different Keyboard Options |
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21 | (20) |
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22 | (3) |
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24 | (1) |
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24 | (1) |
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Keys, hammers, and strings |
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24 | (1) |
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Electro-Mechanical Keyboards |
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25 | (3) |
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28 | (6) |
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28 | (1) |
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29 | (2) |
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31 | (1) |
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32 | (1) |
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32 | (1) |
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33 | (1) |
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Appreciating How Digital Keyboards Make So Many Sounds |
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34 | (1) |
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Considering Key Feel and Response |
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35 | (3) |
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35 | (2) |
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37 | (1) |
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Paying Attention to Polyphony |
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38 | (3) |
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Chapter 3 Choosing and Buying Your Keyboard |
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41 | (22) |
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First Things First: Acoustic or Electric (or Both)? |
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42 | (3) |
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Pros and cons of acoustic keyboards |
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42 | (1) |
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Pros and cons of digital keyboards |
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43 | (2) |
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Looking At What's Important for the Beginner |
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45 | (1) |
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Playing Well With Others and Alone |
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46 | (3) |
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47 | (1) |
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47 | (1) |
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Performing classical music with others |
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48 | (1) |
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Jamming in a pop, rock, or jazz band |
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48 | (1) |
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Picking the Perfect Acoustic Piano |
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49 | (3) |
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Taking location into account |
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49 | (1) |
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Getting all the pedals you deserve |
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50 | (1) |
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Finding good buys and avoiding scams |
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50 | (1) |
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If you've heard one, you haven't heard them all |
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51 | (1) |
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Looking at specific piano brands |
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51 | (1) |
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Selecting a Digital Keyboard That Lasts |
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52 | (5) |
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Digital pianos and organs |
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53 | (1) |
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53 | (1) |
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53 | (1) |
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54 | (1) |
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54 | (1) |
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54 | (1) |
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Knowing the digital features you want |
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55 | (1) |
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Browsing some specific keyboard brands |
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56 | (1) |
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Before You Drive It Off the Lot: Sealing the Deal |
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57 | (2) |
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57 | (1) |
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58 | (1) |
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Never pay the sticker price |
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58 | (1) |
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59 | (1) |
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The MIDI Places You Can Go |
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59 | (4) |
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60 | (1) |
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60 | (1) |
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61 | (1) |
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61 | (2) |
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Chapter 4 The Setup and Care of Your Instrument |
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63 | (18) |
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Unboxing Your New Keyboard |
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63 | (2) |
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Providing a Good Place to Put It |
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65 | (1) |
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66 | (1) |
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Calling In a Pro for Tuning, Check-Ups, and Serious Repairs |
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67 | (4) |
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Tuning pianos: Leave it to the experts |
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68 | (1) |
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Keeping digital keyboards happy |
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69 | (1) |
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Dealing with serious problems |
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69 | (2) |
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71 | (1) |
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Hook Me Up: Keyboard Connections |
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71 | (6) |
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Making the electrical connection |
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72 | (1) |
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72 | (1) |
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73 | (1) |
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Connecting to external speakers and amps |
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74 | (3) |
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Protecting Your Investment: Care and Upkeep |
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77 | (2) |
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Avoiding temperature extremes |
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77 | (1) |
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Combating dust with a keyboard cover |
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77 | (1) |
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Cleaning the keys and case |
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78 | (1) |
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Moving from place to place |
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78 | (1) |
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Solving Minor Technical Problems |
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79 | (2) |
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Chapter 5 Getting Comfy at the Keyboard |
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81 | (16) |
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81 | (4) |
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82 | (2) |
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The black keys --- sharps and flats |
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84 | (1) |
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What Your Parents Never Told You About Posture |
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85 | (5) |
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85 | (1) |
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86 | (3) |
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89 | (1) |
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90 | (3) |
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Arch those hands and fingers |
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90 | (1) |
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91 | (1) |
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When to give your hands and fingers a rest |
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92 | (1) |
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Pedal Power: Getting Your Feet in on the Action |
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93 | (4) |
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93 | (1) |
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94 | (3) |
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Book II Understanding Theory and the Language of Music |
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97 | (56) |
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Chapter 1 Looking at Notes and Beats |
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99 | (10) |
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100 | (1) |
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Recognizing Notes and Note Values |
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101 | (5) |
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Examining the notes and their components |
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101 | (2) |
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103 | (1) |
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103 | (1) |
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104 | (1) |
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104 | (1) |
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105 | (1) |
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Extending Notes with Dots and Ties |
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106 | (1) |
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Using dots to increase a note's value |
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106 | (1) |
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Adding notes together with ties |
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107 | (1) |
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Mixing All the Note Values Together |
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107 | (2) |
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Chapter 2 Stopping for a Rest |
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109 | (6) |
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Getting to Know the Rests |
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109 | (4) |
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110 | (1) |
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Quarter and eighth rests and beyond |
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111 | (2) |
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113 | (1) |
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Practicing Beats with Notes and Rests |
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113 | (2) |
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Chapter 3 Tempo, Measures, and Time Signatures |
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115 | (10) |
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Playing Fast and Slow: Tempo |
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115 | (1) |
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Grouping Beats into Measures |
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116 | (2) |
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Counting Out Common Time Signatures |
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118 | (7) |
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119 | (1) |
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120 | (1) |
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121 | (1) |
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122 | (3) |
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Chapter 4 Navigating Sheet Music |
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125 | (12) |
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Meeting the Staff, Clefs, and Notes |
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125 | (5) |
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126 | (1) |
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127 | (1) |
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The grand staff and ledger lines |
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127 | (2) |
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Climbing beyond the staff |
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129 | (1) |
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An octave above, an octave below |
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129 | (1) |
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Identifying Half Steps, Whole Steps, and Accidentals on the Staff |
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130 | (6) |
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131 | (1) |
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132 | (1) |
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Changing pitch with accidentals |
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133 | (3) |
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Musical Punctuation: Bar Lines |
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136 | (1) |
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Chapter 5 Varying Beats and Rhythms |
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137 | (16) |
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Getting a Jump on the Start: Pickup Beats and Measures |
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137 | (1) |
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Adding Time to Your Notes with Ties and Dots |
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138 | (4) |
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139 | (1) |
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Extending notes using dots |
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139 | (3) |
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142 | (4) |
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142 | (1) |
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143 | (2) |
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145 | (1) |
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Playing Songs with Challenging Rhythms |
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146 | (7) |
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Book III Beginning to Play |
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153 | (128) |
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Chapter 1 Playing a Melody |
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155 | (16) |
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Let Your Fingers Do the Walking |
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155 | (1) |
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156 | (7) |
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157 | (4) |
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161 | (2) |
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Shifting your hand position as you play |
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163 | (1) |
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Cross Your Fingers and Hope It Works |
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163 | (3) |
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164 | (1) |
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165 | (1) |
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Playing Melodies in the Right Hand |
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166 | (5) |
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Chapter 2 Working with Scales |
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171 | (16) |
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Building a Scale, Step-by-Step |
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172 | (1) |
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173 | (4) |
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Understanding major scales |
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173 | (1) |
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Why sharps and flats are involved |
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174 | (2) |
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176 | (1) |
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Trying a major scale exercise |
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177 | (1) |
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177 | (5) |
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178 | (2) |
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180 | (1) |
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180 | (1) |
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Trying minor scale exercises |
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181 | (1) |
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Checking Out Blues Scales |
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182 | (2) |
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Playing Songs Made of Scales |
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184 | (3) |
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Chapter 3 Adding the Left Hand |
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187 | (22) |
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Exploring the Keyboard's West Side |
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187 | (3) |
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188 | (1) |
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Getting used to the new neighborhood |
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188 | (2) |
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190 | (2) |
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192 | (2) |
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192 | (1) |
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A, E, and D natural minor |
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193 | (1) |
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A harmonic and melodic minor |
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193 | (1) |
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194 | (4) |
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194 | (2) |
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196 | (2) |
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Adding the Left Hand to the Right Hand |
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198 | (5) |
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Sharing the melody in both hands |
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199 | (1) |
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200 | (1) |
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Melody plus three-note accompaniment pattern |
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200 | (1) |
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201 | (2) |
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Playing Songs with Both Hands |
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203 | (6) |
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Chapter 4 Examining Form: Melody, Harmony, and Song Form |
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209 | (26) |
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210 | (2) |
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Measuring Melodic Intervals |
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212 | (8) |
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213 | (1) |
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214 | (1) |
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215 | (2) |
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217 | (2) |
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219 | (1) |
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220 | (1) |
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Combining Notes for Harmonic Intervals |
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220 | (5) |
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Playing two notes together |
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221 | (1) |
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Adding intervals to the melody |
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221 | (2) |
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Harmonizing with the left hand |
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223 | (2) |
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Working with Musical Phrases and Periods |
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225 | (1) |
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Linking Musical Parts to Create Forms |
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226 | (2) |
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227 | (1) |
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227 | (1) |
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227 | (1) |
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228 | (1) |
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Playing Songs with More Harmony |
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228 | (7) |
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Chapter 5 Keys, Key Signatures, and the Circle of Fifths |
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235 | (22) |
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235 | (5) |
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236 | (2) |
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238 | (1) |
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238 | (2) |
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240 | (5) |
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Key signatures with sharps |
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241 | (1) |
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Key signatures with flats |
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242 | (1) |
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Leaving and returning to the home key |
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243 | (1) |
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Finding minor key signatures and relative minors |
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244 | (1) |
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Reviewing All the Key Signatures |
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245 | (8) |
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C major and A natural minor |
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246 | (1) |
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G major and E natural minor |
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246 | (1) |
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D major and B natural minor |
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247 | (1) |
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A major and F sharp natural minor |
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248 | (1) |
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E major and C sharp natural minor |
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248 | (1) |
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B/C flat major and G sharp/A flat natural minor |
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249 | (1) |
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F sharp/G flat major and D sharp/E flat natural minor |
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250 | (1) |
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C sharp major/D flat and A sharp/B flat natural minor |
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251 | (1) |
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A flat major and F natural minor |
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251 | (1) |
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E flat major and C natural minor |
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252 | (1) |
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B flat major and G natural minor |
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252 | (1) |
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F major and D natural minor |
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253 | (1) |
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Playing Songs with Key Signatures |
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253 | (4) |
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Chapter 6 Building Chords to Accompany Melodies |
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257 | (24) |
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258 | (1) |
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Starting Out with Major Chords |
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259 | (1) |
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Branching Out with Minor Chords |
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260 | (1) |
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Exploring Other Types of Chords |
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260 | (4) |
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Tweaking the fifth: Augmented and diminished chords |
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261 | (1) |
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Waiting for resolution: Suspended chords |
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262 | (2) |
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Adding the Seventh for Four-Note Chords |
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264 | (1) |
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265 | (3) |
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Relating Chords to a Scale or Key Signature |
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268 | (2) |
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Recognizing the major scale chord tones |
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268 | (1) |
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Trying a few common chord progressions |
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269 | (1) |
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Rearranging the Order of the Notes: Chord Inversions |
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270 | (4) |
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The three triad inversions |
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270 | (2) |
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Three-note chords in your left hand |
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272 | (1) |
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Two-handed chords in a pianistic style |
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273 | (1) |
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Playing Songs with Chords |
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274 | (7) |
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Book IV Refining Hour Technique and Exploring Styles |
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281 | (76) |
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Chapter 1 Adding Effects and Flair to Your Piano Playing |
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283 | (22) |
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283 | (3) |
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Starting with basic volume changes |
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284 | (1) |
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284 | (1) |
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Making gradual shifts in volume |
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285 | (1) |
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286 | (2) |
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Interpreting articulation symbols |
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286 | (2) |
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The power of articulation |
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288 | (1) |
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288 | (1) |
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289 | (3) |
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290 | (1) |
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Hard facts on soft-pedaling |
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291 | (1) |
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292 | (1) |
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292 | (2) |
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294 | (1) |
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295 | (2) |
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297 | (2) |
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299 | (6) |
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Chapter 2 Getting into the Groove |
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305 | (20) |
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Great Left-Hand Accompaniment Patterns |
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305 | (10) |
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306 | (2) |
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308 | (1) |
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308 | (2) |
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310 | (3) |
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313 | (2) |
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Applying Great Intros and Finales |
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315 | (7) |
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317 | (3) |
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320 | (2) |
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Playing Songs with Left-Hand Grooves |
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322 | (3) |
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Chapter 3 Going Classical |
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325 | (12) |
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Counterpoint as a Classical Revelation |
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327 | (1) |
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328 | (3) |
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Starting with the exposition |
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328 | (1) |
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Moving on to something new: Development |
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329 | (1) |
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Taking a rest with recapitulation |
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330 | (1) |
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331 | (1) |
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332 | (1) |
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Combining Forms into a Symphony |
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333 | (1) |
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Observing Other Classical Forms |
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334 | (3) |
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334 | (1) |
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335 | (1) |
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335 | (1) |
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335 | (2) |
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Chapter 4 Perusing Popular Genres and Forms |
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337 | (20) |
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337 | (7) |
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338 | (1) |
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339 | (1) |
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339 | (1) |
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340 | (1) |
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32-bar blues ballads and country |
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340 | (1) |
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341 | (1) |
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342 | (1) |
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343 | (1) |
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Having Fun with Rock and Pop |
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344 | (3) |
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Playing rock and pop songs |
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346 | (1) |
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347 | (1) |
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347 | (1) |
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347 | (1) |
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348 | (2) |
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348 | (1) |
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349 | (1) |
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350 | (3) |
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350 | (1) |
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351 | (1) |
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352 | (1) |
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353 | (4) |
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354 | (1) |
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354 | (2) |
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356 | (1) |
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Book V Exercises: Practice, Practice, Practice |
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357 | (122) |
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Chapter 1 Developing Hand Technique |
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359 | (28) |
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Passing Over and Crossing Under |
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359 | (8) |
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One under two, two over one |
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360 | (1) |
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One under three, three over one |
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361 | (1) |
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One under four, four over one |
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362 | (1) |
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Extending scales with crossovers and pass-unders |
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363 | (3) |
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Performance piece: Aria from La Cenerentola |
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366 | (1) |
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367 | (15) |
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Playing seconds with different finger combinations |
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367 | (5) |
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Playing thirds with different finger combinations |
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372 | (4) |
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Playing fourths with finger combinations |
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376 | (2) |
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Playing fifths, sixths, and sevenths |
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378 | (3) |
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Performance piece: "Take Me Out to the Ballgame" |
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381 | (1) |
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Playing Chords Without Tension |
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382 | (5) |
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382 | (2) |
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384 | (3) |
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Chapter 2 Extending Your Scales |
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387 | (22) |
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The 12 Major, Harmonic Minor, and Melodic Minor Scales |
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387 | (12) |
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C major, harmonic minor, melodic minor |
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388 | (1) |
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G major, harmonic minor, melodic minor |
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389 | (1) |
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D major, harmonic minor, melodic minor |
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390 | (1) |
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A major, harmonic minor, melodic minor |
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391 | (1) |
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E major, harmonic minor, melodic minor |
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392 | (1) |
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B major, harmonic minor, melodic minor |
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393 | (1) |
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F major, harmonic minor, melodic minor |
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394 | (1) |
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Db major, C harmonic minor, C melodic minor |
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395 | (1) |
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Ab major, harmonic minor, melodic minor |
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396 | (1) |
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Eb major, harmonic minor, melodic minor |
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397 | (1) |
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Bb major, harmonic minor, melodic minor |
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398 | (1) |
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F major, harmonic minor, melodic minor |
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399 | (1) |
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The Three Diminished Scales |
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399 | (2) |
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400 | (1) |
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400 | (1) |
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401 | (1) |
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401 | (1) |
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402 | (4) |
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402 | (1) |
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402 | (1) |
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402 | (1) |
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403 | (1) |
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403 | (1) |
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403 | (1) |
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404 | (1) |
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404 | (1) |
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404 | (1) |
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405 | (1) |
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405 | (1) |
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405 | (1) |
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Gaining Greater Command of Scales |
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406 | (2) |
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406 | (1) |
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Varied rhythmic groupings |
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407 | (1) |
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Performance Piece: "Variations on 'Twinkle, Twinkle, Little Star'" |
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408 | (1) |
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Chapter 3 Improving Finger Coordination and Footwork |
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409 | (20) |
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Parallel Movement at the Octave |
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409 | (3) |
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Parallel octave exercise #1 |
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410 | (1) |
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Parallel octave exercise #2 |
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411 | (1) |
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Parallel Movement at the Interval |
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412 | (2) |
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412 | (1) |
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413 | (1) |
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Contrary Motion Away from the Center |
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414 | (2) |
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Scalewise motion away from the center |
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414 | (1) |
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Chromatic motion away from the center |
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415 | (1) |
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Contrary Motion Toward the Center |
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416 | (2) |
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Scalewise motion toward the center |
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416 | (1) |
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Patterns toward the center |
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417 | (1) |
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Combination Movement Exercise |
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418 | (1) |
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Performance Piece: "Turkey in the Straw" |
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419 | (1) |
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420 | (1) |
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420 | (4) |
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422 | (1) |
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423 | (1) |
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Uniform Pedal Changes on One Line |
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424 | (1) |
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Varied Pedal Changes on One Line |
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|
425 | (1) |
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426 | (1) |
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Sustaining as the Hands Move |
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427 | (1) |
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Performance Piece: "Simple Gifts" |
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428 | (1) |
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Chapter 4 Jumping Across the Keyboard |
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429 | (14) |
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Jumping and Landing Accuracy |
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429 | (5) |
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430 | (1) |
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431 | (1) |
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432 | (1) |
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433 | (1) |
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434 | (1) |
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Jumping with Both Hands Together |
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434 | (2) |
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Two-hand parallel motion jumps |
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435 | (1) |
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Two-hand contrary motion jumps |
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436 | (1) |
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Left-Hand Accompaniment Patterns |
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436 | (5) |
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Bass note-to-chord pattern in 4/4 |
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437 | (1) |
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Bass note-to-chord pattern in 3/4 |
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438 | (1) |
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Ragtime and stride pattern |
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439 | (1) |
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440 | (1) |
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Performance Piece: "Lily Pad Rag" |
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441 | (2) |
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Chapter 5 Exercising with Arpeggios and Alternating Hands |
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443 | (20) |
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443 | (3) |
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444 | (1) |
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445 | (1) |
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446 | (1) |
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446 | (3) |
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Triad arpeggio exercise #1 |
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447 | (1) |
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Triad arpeggio exercise #2 |
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448 | (1) |
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Seventh-chord arpeggio exercise |
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449 | (1) |
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449 | (5) |
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450 | (1) |
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Guitar-style broken chord exercise |
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451 | (1) |
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Blues-style broken chord exercise |
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452 | (1) |
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Octave, extended broken chord exercise |
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|
453 | (1) |
|
Performance Piece: "Harp Heaven" |
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454 | (2) |
|
Playing with Alternating Hands: Hand-to-Hand Scale Handoffs |
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|
456 | (7) |
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Scale handoff exercise #1 |
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|
456 | (2) |
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Scale handoff exercise #2 |
|
|
458 | (1) |
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Arpeggio handoff exercise #1 |
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|
459 | (1) |
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Arpeggio handoff exercise #2 |
|
|
460 | (1) |
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Crossing over with the right hand |
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|
461 | (1) |
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Crossing over with the left hand |
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|
462 | (1) |
|
Chapter 6 Stepping Up to Octaves and Chord Progressions |
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463 | (16) |
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463 | (3) |
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|
464 | (1) |
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|
465 | (1) |
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466 | (4) |
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Exercise with shorter jumps |
|
|
466 | (1) |
|
Exercise with longer jumps |
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|
467 | (1) |
|
Broken octave exercise with wrist rotation |
|
|
468 | (1) |
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Broken octave exercise with hand contraction and expansion |
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469 | (1) |
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470 | (2) |
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|
470 | (1) |
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|
471 | (1) |
|
Performance Piece: "Schumann's Octave Workout" |
|
|
472 | (1) |
|
Seventh Chord Progressions |
|
|
473 | (2) |
|
Seventh chord progressions exercise #1 |
|
|
473 | (1) |
|
Seventh chord progressions exercise #2 |
|
|
474 | (1) |
|
Chord Cadences, Familiar Patterns |
|
|
475 | (2) |
|
Extended Chord Progressions |
|
|
477 | (2) |
|
Extended major-key chord progression |
|
|
477 | (1) |
|
Extended minor-key chord progression |
|
|
478 | (1) |
|
Book VI Exploring Electronic Keyboard Technology |
|
|
479 | (114) |
|
Chapter 1 Choosing Sounds and Effects |
|
|
481 | (18) |
|
First Things First: Understanding Some Important Terminology |
|
|
482 | (3) |
|
A sound by any other name: Recognizing the various terms |
|
|
482 | (2) |
|
|
|
484 | (1) |
|
Knowing and Using Effects |
|
|
485 | (1) |
|
Meeting the Main Types of Effects |
|
|
486 | (9) |
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|
|
486 | (2) |
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|
|
488 | (1) |
|
Chorus/flanging/phase shifting |
|
|
488 | (2) |
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|
|
490 | (2) |
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|
|
492 | (1) |
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|
|
493 | (1) |
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|
|
493 | (1) |
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|
|
494 | (1) |
|
Choosing Effects for Each Type Of Sound |
|
|
495 | (4) |
|
Piano-type and synth sounds |
|
|
495 | (2) |
|
|
|
497 | (1) |
|
|
|
497 | (2) |
|
Chapter 2 Adding Accompaniment, Rhythm Patterns, and Arpeggiation |
|
|
499 | (26) |
|
Getting Your Groove On: Working with Onboard Drum Rhythms |
|
|
500 | (6) |
|
|
|
501 | (3) |
|
Starting the pattern playing |
|
|
504 | (1) |
|
Digging into natural drum fills |
|
|
505 | (1) |
|
|
|
506 | (1) |
|
Playing with Accompaniment |
|
|
506 | (8) |
|
How auto-accompaniment works |
|
|
507 | (1) |
|
Starting a pattern playing |
|
|
507 | (1) |
|
Breaking down an accompaniment pattern |
|
|
508 | (1) |
|
Feeding the band the chord changes: Chord triggering |
|
|
509 | (3) |
|
Mixing the sound of the band |
|
|
512 | (2) |
|
Letting the Keyboard Make the Choices for You |
|
|
514 | (2) |
|
Taking advantage of one-touch settings |
|
|
514 | (1) |
|
Diving into the music database |
|
|
515 | (1) |
|
|
|
516 | (1) |
|
Adding harmony to your melodies |
|
|
516 | (1) |
|
|
|
517 | (1) |
|
|
|
517 | (3) |
|
Looking at some arp examples |
|
|
518 | (2) |
|
Exploring More Arpeggiator Features |
|
|
520 | (2) |
|
|
|
520 | (1) |
|
Changing the timing/speed |
|
|
520 | (1) |
|
Getting into the swing of things |
|
|
521 | (1) |
|
Making the notes shorter/longer |
|
|
521 | (1) |
|
Hearing the notes being held along with the arp |
|
|
521 | (1) |
|
Keeping the arp playing without holding the keys |
|
|
522 | (1) |
|
Adding variety with different patterns |
|
|
522 | (1) |
|
Trying Out Some Different Sounds: Matching Sounds and Arp Patterns |
|
|
522 | (1) |
|
Adding Fun Sound and Effects Tweaks |
|
|
523 | (2) |
|
Chapter 3 Recording and Editing Your Sounds |
|
|
525 | (26) |
|
Audio Recording versus MIDI Recording |
|
|
526 | (4) |
|
Recording with analog and digital audio |
|
|
526 | (3) |
|
Making sense of MIDI recording |
|
|
529 | (1) |
|
Capturing What You Hear As It Happens: One-Pass Recording |
|
|
530 | (3) |
|
Tackling audio recording in one pass |
|
|
531 | (1) |
|
Grabbing a one pass MIDI recording |
|
|
532 | (1) |
|
Recording Multitrack MIDI |
|
|
533 | (3) |
|
|
|
533 | (2) |
|
Recording the first track |
|
|
535 | (1) |
|
|
|
535 | (1) |
|
Refining Your MIDI Recordings |
|
|
536 | (6) |
|
|
|
536 | (4) |
|
|
|
540 | (2) |
|
Trying Some Common Sound Edits |
|
|
542 | (7) |
|
Varying the basic timbre (waveform) |
|
|
543 | (2) |
|
Changing the brightness (filter) |
|
|
545 | (1) |
|
Adjusting the amp parameters (volume over time) |
|
|
546 | (1) |
|
Personalizing the touch response of a sound |
|
|
547 | (2) |
|
Getting Your Song out of the Keyboard and into the World |
|
|
549 | (2) |
|
Chapter 4 Using Onboard Learning Systems |
|
|
551 | (14) |
|
Working with Built-In Songs |
|
|
551 | (4) |
|
|
|
552 | (1) |
|
|
|
553 | (1) |
|
Turning off one of the parts (RH or LH) |
|
|
554 | (1) |
|
|
|
554 | (1) |
|
Introducing Casio's Step-up Lesson System |
|
|
555 | (7) |
|
Following the steps: Listen, watch, and remember |
|
|
555 | (1) |
|
Getting started: Picking what to work on |
|
|
556 | (1) |
|
Lesson 1 Listening and letting the teacher show you how |
|
|
557 | (2) |
|
Lesson 2 Playing and watching the display for guidance |
|
|
559 | (1) |
|
Lesson 3 Progressing from watch to remember |
|
|
559 | (1) |
|
Turning off some of the helpers |
|
|
560 | (2) |
|
Playing the whole song yourself |
|
|
562 | (1) |
|
Exploring Yamaha's Educational Suite Lesson System |
|
|
562 | (3) |
|
Following the steps: Listening, waiting, your tempo, and minus one |
|
|
563 | (1) |
|
Starting off by deciding what to work on |
|
|
564 | (1) |
|
Chapter 5 Playing Along with Recordings and Using Music Software |
|
|
565 | (28) |
|
Exploring the Advantages of Playing Along |
|
|
566 | (1) |
|
Connecting an Audio Device to Your Keyboard to Hear Both Together |
|
|
567 | (3) |
|
Finding a line input and getting connected |
|
|
567 | (2) |
|
No input? No worries: Moving forward with a mixer |
|
|
569 | (1) |
|
|
|
570 | (1) |
|
Figuring Out a Song You Don't Know |
|
|
571 | (4) |
|
Training your ear by trial and error |
|
|
571 | (1) |
|
Listening to a phrase to learn it |
|
|
572 | (1) |
|
Using your computer to help |
|
|
573 | (2) |
|
The Computer Connection: Using Software to Enhance Your Music-Making |
|
|
575 | (3) |
|
How MIDI works: Explaining common MIDI messages |
|
|
575 | (2) |
|
|
|
577 | (1) |
|
Connecting Your Keyboard to Your Computer |
|
|
578 | (6) |
|
Using a direct USB connection |
|
|
579 | (1) |
|
Utilizing a MIDI interface |
|
|
579 | (2) |
|
Working with drivers and plug-and-play |
|
|
581 | (3) |
|
|
|
584 | (1) |
|
Exploring Popular Types of Music Software |
|
|
585 | (8) |
|
|
|
585 | (2) |
|
Educational/learning software |
|
|
587 | (1) |
|
|
|
588 | (1) |
|
|
|
589 | (1) |
|
Additional instruments/sounds |
|
|
589 | (4) |
| Appendix: Accessing the Audio Tracks |
|
593 | (8) |
| Index |
|
601 | |
