Wednesday, August 5, 2009
Tuesday, August 4, 2009
Joycam 95 Film Fuji Equivalent
PROGRAM CURRICULUM MUSIC STUDIOS
INITIAL LEVEL
• Tuning the guitar.
• Positions of both hands for the proper execution
• Parts of the guitar. Controls and switches. How to use them to get the desired sounds.
• Location of the notes on the fretboard
• Basic Chord Positions. Major and minor chords in first position and barre. 5th chords. Triads.
• minor pentatonic. First position. Exercises and phrases in style. Application on the basis of a chord progression on a static or simple.
• fingering exercises. Independence of fingers. Economy of motion to optimize the touch.
• Using the metronome to develop good tempo, in addition to speed and precision in execution.
• Basic techniques of spike; fingers pua + fingers. Alternate picking exercises and basic legato. Slide and bending. Vibrato. Palm muting. Natural harmonics.
• Theoretical Introduction. Location of the notes on the staff. American encryption. Major Scale Structure. Harmonization level greater than 3 voices. Resulting triads. Intervals. Structure triads major, minor and diminished. Key. Basic progressions. Transpose to different keys. Circle of fifths. Intervals.
• rhythmic figures. Introduction to rhythmic reading. Black, eighth round, sixteenth. Combinations. Application for improvisation. Type of beat. • Bases
simple rock and blues. Improvisation on them with the 1st position pentatonic.
• Improvisation with notes of the chord. Arpeggios. • First position
scale. Transportation to all keys.
• Reading: lessons from the book "Modern Guitar Method" Berklee. • Improvisations on bases
play-along, designed to suit the student.
• Songs, alone and / or phrases aimed at the student's particular taste. INTERMEDIATE
• 5 minor pentatonic positions. Location of the tonic in each position. Application. Exercises. Phrases characteristics of each position. Connection between positions.
• Blues Scale. Similarity with the pentatonic positions.
• Harmonization of the major scale to 4 voices. Resulting chord structure. Maj7, m7, 7 and m7b5. Progressions. Harmonic functions of each chord. Positions of each chord in different sets of strings. Investments. Voice leading.
• major pentatonic. Relationship with the minor pentatonic. 5 positions. Phrases. Using both major and minor pentatonic over a major chord or dominant.
• arpeggios 7th.
• Scale modes. Definition. How to play all modes with a single position of the major scale. Construction of modal progressions to improvise. Relationship between the modes and degrees of tonality.
• rhythmic figures. Puntillo. Syncope. Quintuplet. Applications for improvisation. Rhythmic displacement.
• 7 positions of the major scale. Applications. Exercises. Arpeggios into position. Intervals within the position.
• Improvisation on a progression that has 2 minor chords to a 3rd child away. Position playing. Pentatonic and Dorian mode and less. Minor triad and arpeggio of the 7th child.
• Technical exercises with the positions of the major scale. Phrases, patterns.
• artificial harmonics. Harp harmonics.
• Chroma and passing notes. Application improvisation. Times and weaknesses of a compass. • Improvisations on bases
play-along, like the student-oriented
• Songs, alone and / or phrases aimed at the student's particular taste
ADVANCED
• Harmonic Minor Scale. 4-voice harmonization. Theoretical explanation for the origin of this scale. Resulting chords. Their structure. Scale modes. Implementation and relationship to the chords resulting from the scale. Structure of the minor chord with the 7th largest, Maj7 # 5 and decreased the 7th diminished. Applications.
• Melodic Minor Scale. 4-voice harmonization. Theoretical explanation for the origin of this scale. Resulting chords. Their structure. Scale modes. Implementation and relationship to the chords resulting from the scale.
• Extension of tonality. Dominant side. Diminished chords step. Modal interchange. Modulation. Reharmonization. Tritonal replacement.
• On the technical side: developing speed and accuracy. Patterns. Applying a pattern to any position on a larger scale, lower scale or another.
• Size of the left hand for unusual chord positions, pentatonic positions 3 note per string.
• phrasing and improvisation, rhythmic and melodic motifs for the development of phrasing. Improvisation on II VI
• Advanced concepts of phrasing and improvisation and playing out-side, targeting, Cromatic aproach.
• Advanced Techniques. Alternate picking, legato, string skipping, sweep picking, hybrid picking, Economy picking, tapping, tapping with 8 fingers. Phrases, patterns
• Voltages available for each type of chord. Difference between dominant and altered dominant. Altered scale. Whole tone scale. Symmetric diminished scale. • Improvisations on bases
play-along, like the student-oriented
• Songs, alone and / or phrases aimed at the student's particular taste
PREFERRED BY STYLE STUDENTS WILL BE MADE BY stress upon the concepts and techniques YOUR STYLE AS POSSIBLE:
JAZZ FUSION
• Applications depth of the major scale modes, harmonic and melodic. Using arpeggios in improvisation. Altered scale over dominant chords.
• Voicings. Investments. Unusual voicings. Harmonic and scalar replacement.
• Rhythms own style. Accentuation of the time 2 and 4 of the bar. Swing. Rhythmic movements.
• Applications of whole-tone scale (whole-tone) and symmetrically decreased.
• Comping. Walking bass lines. Combination of walking bass and camping.
• Armonia quarters.
• Outside playing.
phrases • Study of the icons of jazz. Applications. Standards
• Improvisation on style, increasing the difficulty depending on the student's level. Bases play-along (Aebersold) recorded by real musicians for students to apply knowledge. ROCK AND HEAVY
• Study of riffs and rock bands bases. Artificial harmonics. Bends of more than one tone amplitude. Types of vibrato.
• Research and technical solos of guitarists like joe satriani, steve vai, artists and students to choose.
• Extensive use of the minor pentatonic scale. Pentatonic Position 3 note per string
• Use the major scale. Phrygian mode, harmonic minor scale.
• Triads and sweep picking.
• Metrics irregular. Dream theater-style riff, rush. Progressive rock.
• chord in fifths, the same investment. Passing diminished chord. Investment triads in the bass strings. Chords of the 9th added. • Improvisations on bases
play - along the style. FUNK
• Spike alternately. Palm muting. Division sixteenth black. Accentuation of every sixteenth time separately. Patterns with single notes and chords of the 7th.
• Use the slide to close chromatic chord or note.
• Rate of swing. Syncope.
• Chords and voicings of the genre.
• Study of bases and own style riffs. • Improvisations on bases
play - along the style. BLUES
• Sentences with the major and minor pentatonic scales and the blues scale.
• Study of solos, phrases and topics of style icons, like hendrix, vaughan, clapton, bb king, etc. • Improvisations on bases
play - along the style. BOSSA NOVA
• Chords and sides of the genre. Rhythms
• Voicings. Investments. Unusual voicings. Harmonic and scalar replacement
studies programs are presented here for reference.
Classes are based on student concerns. Some students aim to develop a very advanced technique, some jazz and improvisation, as many of the harmony, etc.
If the student wants to focus only on one aspect of the instrument, the content of the classes will be focused on this topic.
• Tuning the guitar.
• Positions of both hands for the proper execution
• Parts of the guitar. Controls and switches. How to use them to get the desired sounds.
• Location of the notes on the fretboard
• Basic Chord Positions. Major and minor chords in first position and barre. 5th chords. Triads.
• minor pentatonic. First position. Exercises and phrases in style. Application on the basis of a chord progression on a static or simple.
• fingering exercises. Independence of fingers. Economy of motion to optimize the touch.
• Using the metronome to develop good tempo, in addition to speed and precision in execution.
• Basic techniques of spike; fingers pua + fingers. Alternate picking exercises and basic legato. Slide and bending. Vibrato. Palm muting. Natural harmonics.
• Theoretical Introduction. Location of the notes on the staff. American encryption. Major Scale Structure. Harmonization level greater than 3 voices. Resulting triads. Intervals. Structure triads major, minor and diminished. Key. Basic progressions. Transpose to different keys. Circle of fifths. Intervals.
• rhythmic figures. Introduction to rhythmic reading. Black, eighth round, sixteenth. Combinations. Application for improvisation. Type of beat. • Bases
simple rock and blues. Improvisation on them with the 1st position pentatonic.
• Improvisation with notes of the chord. Arpeggios. • First position
scale. Transportation to all keys.
• Reading: lessons from the book "Modern Guitar Method" Berklee. • Improvisations on bases
play-along, designed to suit the student.
• Songs, alone and / or phrases aimed at the student's particular taste. INTERMEDIATE
• 5 minor pentatonic positions. Location of the tonic in each position. Application. Exercises. Phrases characteristics of each position. Connection between positions.
• Blues Scale. Similarity with the pentatonic positions.
• Harmonization of the major scale to 4 voices. Resulting chord structure. Maj7, m7, 7 and m7b5. Progressions. Harmonic functions of each chord. Positions of each chord in different sets of strings. Investments. Voice leading.
• major pentatonic. Relationship with the minor pentatonic. 5 positions. Phrases. Using both major and minor pentatonic over a major chord or dominant.
• arpeggios 7th.
• Scale modes. Definition. How to play all modes with a single position of the major scale. Construction of modal progressions to improvise. Relationship between the modes and degrees of tonality.
• rhythmic figures. Puntillo. Syncope. Quintuplet. Applications for improvisation. Rhythmic displacement.
• 7 positions of the major scale. Applications. Exercises. Arpeggios into position. Intervals within the position.
• Improvisation on a progression that has 2 minor chords to a 3rd child away. Position playing. Pentatonic and Dorian mode and less. Minor triad and arpeggio of the 7th child.
• Technical exercises with the positions of the major scale. Phrases, patterns.
• artificial harmonics. Harp harmonics.
• Chroma and passing notes. Application improvisation. Times and weaknesses of a compass. • Improvisations on bases
play-along, like the student-oriented
• Songs, alone and / or phrases aimed at the student's particular taste
ADVANCED
• Harmonic Minor Scale. 4-voice harmonization. Theoretical explanation for the origin of this scale. Resulting chords. Their structure. Scale modes. Implementation and relationship to the chords resulting from the scale. Structure of the minor chord with the 7th largest, Maj7 # 5 and decreased the 7th diminished. Applications.
• Melodic Minor Scale. 4-voice harmonization. Theoretical explanation for the origin of this scale. Resulting chords. Their structure. Scale modes. Implementation and relationship to the chords resulting from the scale.
• Extension of tonality. Dominant side. Diminished chords step. Modal interchange. Modulation. Reharmonization. Tritonal replacement.
• On the technical side: developing speed and accuracy. Patterns. Applying a pattern to any position on a larger scale, lower scale or another.
• Size of the left hand for unusual chord positions, pentatonic positions 3 note per string.
• phrasing and improvisation, rhythmic and melodic motifs for the development of phrasing. Improvisation on II VI
• Advanced concepts of phrasing and improvisation and playing out-side, targeting, Cromatic aproach.
• Advanced Techniques. Alternate picking, legato, string skipping, sweep picking, hybrid picking, Economy picking, tapping, tapping with 8 fingers. Phrases, patterns
• Voltages available for each type of chord. Difference between dominant and altered dominant. Altered scale. Whole tone scale. Symmetric diminished scale. • Improvisations on bases
play-along, like the student-oriented
• Songs, alone and / or phrases aimed at the student's particular taste
PREFERRED BY STYLE STUDENTS WILL BE MADE BY stress upon the concepts and techniques YOUR STYLE AS POSSIBLE:
JAZZ FUSION
• Applications depth of the major scale modes, harmonic and melodic. Using arpeggios in improvisation. Altered scale over dominant chords.
• Voicings. Investments. Unusual voicings. Harmonic and scalar replacement.
• Rhythms own style. Accentuation of the time 2 and 4 of the bar. Swing. Rhythmic movements.
• Applications of whole-tone scale (whole-tone) and symmetrically decreased.
• Comping. Walking bass lines. Combination of walking bass and camping.
• Armonia quarters.
• Outside playing.
phrases • Study of the icons of jazz. Applications. Standards
• Improvisation on style, increasing the difficulty depending on the student's level. Bases play-along (Aebersold) recorded by real musicians for students to apply knowledge. ROCK AND HEAVY
• Study of riffs and rock bands bases. Artificial harmonics. Bends of more than one tone amplitude. Types of vibrato.
• Research and technical solos of guitarists like joe satriani, steve vai, artists and students to choose.
• Extensive use of the minor pentatonic scale. Pentatonic Position 3 note per string
• Use the major scale. Phrygian mode, harmonic minor scale.
• Triads and sweep picking.
• Metrics irregular. Dream theater-style riff, rush. Progressive rock.
• chord in fifths, the same investment. Passing diminished chord. Investment triads in the bass strings. Chords of the 9th added. • Improvisations on bases
play - along the style. FUNK
• Spike alternately. Palm muting. Division sixteenth black. Accentuation of every sixteenth time separately. Patterns with single notes and chords of the 7th.
• Use the slide to close chromatic chord or note.
• Rate of swing. Syncope.
• Chords and voicings of the genre.
• Study of bases and own style riffs. • Improvisations on bases
play - along the style. BLUES
• Sentences with the major and minor pentatonic scales and the blues scale.
• Study of solos, phrases and topics of style icons, like hendrix, vaughan, clapton, bb king, etc. • Improvisations on bases
play - along the style. BOSSA NOVA
• Chords and sides of the genre. Rhythms
• Voicings. Investments. Unusual voicings. Harmonic and scalar replacement
studies programs are presented here for reference.
Classes are based on student concerns. Some students aim to develop a very advanced technique, some jazz and improvisation, as many of the harmony, etc.
If the student wants to focus only on one aspect of the instrument, the content of the classes will be focused on this topic.
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