Best musical genres books according to redditors
We found 2,605 Reddit comments discussing the best musical genres books. We ranked the 1,169 resulting products by number of redditors who mentioned them. Here are the top 20.
11. Dancing with Jesus: Featuring a Host of Miraculous Moves
14 mentions
Running Press Book Publishers
Read his autobiography. It's pretty dated now but gives a good understanding into the mind of Brian Warner.
A little back story on Shea Serrano (writer of this story), who I follow on twitter; he always rags on J Cole. I don't know if he really doesn't like him or is just being sarcastic. He also wrote a coloring book with Bun B, which is probably why he's the guy with all the answers
Link to the coloring book if anyone's interested:
http://www.amazon.com/Bun-Rapper-Coloring-Activity-Book/dp/1419710419/ref=sr_1_1?s=books&ie=UTF8&qid=1419364809&sr=1-1&keywords=bun+b
For those interested, you should read this if you haven't already.
It's a fantastic book that's very addicting to read. And cheap!
Gangster rap coloring book. Best coffee table item ever.
http://www.amazon.com/Gangsta-Coloring-Book-Anthony-Morano/dp/0867196041/ref=sr_1_1?ie=UTF8&s=books&qid=1291248520&sr=1-1
The 1960's "counter-culture" music scene was rife with military brats, you should check out some of Dave McGowan's work on the subject. Intelligence has been recruiting people for roles in popular culture for a long time.
http://www.amazon.com/Bun-Rapper-Coloring-Activity-Book/dp/1419710419
My suggestion is to learn on your own, and if you choose to go to college, pursue a major that has more profitable career options. Minor in music theory and invest your free time in practicing your instrument. Here is a reading list I recommend to start getting into serious music study and guitar playing:
That was a fucking wall of text. Hopefully I didn't come off like a negative asshole or bore you to death. If you have any questions or complaints, let me know!
You are in luck because 2 weeks ago, the new edition of Dance Music Manual came out.
http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=dp_ob_title_bk
You can read the reviews for the previous edition here http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0240521072/ref=pd_sim_b_7
It covers like all the bases to some extent. It does not teach you how to use a DAW though.
Also all the books (Music theory|Composition|Harmony) for computer musician by Michael Hewitt are pretty good if you have no music background.
There are a lot of courses. Any specific topics you're interested in?
Edit: I'll just list a few anyway that I've used in classes (this may not reflect all professors' choices for the same subjects).
Tonal Harmony: Kostka-Payne - Tonal Harmony
Counterpoint 1: A Berklee book by the late professor Rick Applin. Some also use this Fux translation/adaptation
Counterpoint 2: Bach Inventions & Sinfonias (any edition, really)
"Advanced" Counterpoint: The Well-Tempered Clavier (again, any edition)
Early Twentieth-Century Harmony: Persichetti - Twentieth-Century Harmony
Post-Tonal Theory/Analysis: Straus - Intro to Post-Tonal Theory
Instrumentation/Orchestration: Adler - The Study of Orchestration &
Casella/Mortari - The Technique of Contemporary Orchestration
Western Music History - Burkholder/Paiisca - A History of Western Music (8th or 9th edition)
Conducting 1 - Notion Conducting
Conducting 2 Notion + Stravinsky's Petrushka
Berklee's own (jazz-based) core harmony and ear-training curricula use Berklee textbooks written by professors which, as someone else mentioned, come unbound and shrink-wrapped at the bookstore. You can find older (PDF) versions of the Berklee harmony textbooks here. Of course this list only represents explicit book choices - there are a lot of excerpt-readings, and there's a lot of instruction that isn't found in these books even in the associated courses.
If you haven't read his autobiography, I highly suggest that you do. He talks about a lot of surprisingly normal aspects of his young and adult life.
From what I remember he talks about going to Catholic School for almost his entire life and like you said he majored in Journalism in College.
I also read an article in some fashion magazine about Dita Von Teese (a very famous model and also his ex-wife), about how one Sunday morning she woke up to him getting dressed and asked him what the occasion was. He told her that he was going to Church and that he went almost every Sunday. She laughed at him until she realized that he was actually serious. (I cannot find the source right now, but I will keep looking for it, the article is at least a few years old.)
http://www.amazon.com/The-Real-Book-Sixth-Edition/dp/0634060384
It's a collection of jazz standards. A must-have for anyone who plays even a little bit of jazz, but it's definitely not something you could learn jazz guitar from without another aid.
I'm guessing since you are learning all this theory and stuff that you want to be a good musician. Any good musician will want to possess the skill of reading music. I know us guitarists generally don't want to read, but it REALLY comes in handy when you want to communicate between other musicians (especially non-guitarists). I recommend this book for reading. Not only does it teach you to read, but it introduces concepts of music theory as you go. I'm currently on Vol. 2 and it's rough, but I can tell you right now that I know SO much more since starting this book than if I hadn't and just kept trying to do things by ear.
As for classes and sequences, it's a lot of theory, ear training, sight-singing, and melodic/harmonic dictations. I know sight-singing seems kind of trivial or even inapplicable, but it is honestly one of, if not the best things to be good at musically. To be able to sight sing well means that you can internalize notes in your head (relatively); i.e. you can hear in your head what's supposed to be playing. For that I would say that this book would be the best, it's the one that I'm using and will continue to use for some time. For theory I would recommend the guitar book (I was never assigned an actual textbook in my theory courses). For ear training I would recommend this site. And the dictations will come once you've gained some mastery in the previous skills.
Sorry for the long post, I kind of got ahead of myself there. But one last thing - if you just keep drilling the theory and reading, even when it gets hard, you'll progress. There were times when I just looked at a piece of music that I had to have down by the following week and thought to myself, "there's no way in hell I'm going to be able to play this." But some determination and time will get you there.
Cuz Bun B made a coloring book and it's amazing. They even have new pictures you can print out!
How to Rap
Mixing Secrets for the Small Studio - http://www.amazon.com/Mixing-Secrets-Small-Studio-Senior/dp/0240815807
Sound on Sound Synth Secrets - http://www.soundonsound.com/sos/allsynthsecrets.htm
Music Theory for Computer Musicians - http://www.amazon.com/Theory-Computer-Musicians-Michael-Hewitt/dp/1598635034
Composition for Computer Musicians - http://www.amazon.com/Composition-Computer-Musicians-Michael-Hewitt/dp/1598638610
Harmony for Computer Musicians - http://www.amazon.com/Harmony-Computer-Musicians-Michael-Hewitt/dp/1435456726/
Dance Music Manual - http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644
Also all of the manuals for whatever daw/vsts you have.
You'll find this an interesting read.
Rawlins went on to write his own jazz theory book - but I'm not sure I'd recommend it. It does deal with a lot of what Levine skimmed over, but it's a dull read compared to Levine. All the musical examples were written by the authors, there are no real jazz quotes, as in Levine. (Levine's quotes are not great evidence for his theories, however.)
The best jazz theory book seems to be Terefenko.
To be quite honest, that's what makes it so appealing to me.
The fact that he tells "a pretty generic hood story" as you put it but manages to make it sound so god damn smooth.
Imagine any other artist, writing this song without the rewind concept. It would be the most boring-ass, generic rap song. Nas turned that into a classic.
This song was even talked about in How to Rap: The Art and Science of the Hip-Hop MC. It's a pretty interesting read btw, I recommend it to anyone on /r/hiphopheads/
Is it this one?
I've got a copy too! An ex-girlfriend of mine got it for me while we were dating... I kinda miss that girl, she really got me...
His book with Niel Strauss is a fun read.
http://www.amazon.com/Long-Hard-Road-Out-Hell/dp/0060987464/ref=sr_1_1?ie=UTF8&s=books&qid=1279503654&sr=8-1
So many people seem to have this idea that they're just going to "learn theory." Like that's it.
Like there will be this AHA I NOW KNOW THE MUSICAL THEORY I CAN NOW WRITE THE MUSIC.
But in all seriousness. Yeah you will learn theory. If music is going to be a life long pursuit you will never STOP learning theory. Unless you're not serious about it. Then you might just learn what I IV V means write some pop songs and stop there. I digress..
First thing. Learn to read music. DO NOT READ TAB. Learn all the notes on the fret board. Not like you can count up to it and realize that something is a C. Like you KNOW IT. Point to it and you know what note it is. Start reading music here.
Another good way to learn the notes on the fretboard is to pick 4 triads of different qualities. One major, one minor, one diminished, and one augmented triad and play them in all inversions in all positions on the neck while saying the note names. And then pick 4 new triads the next day. Do not just learn the shapes. This will probably take you 2 hours on your first day if you're as thorough as you should be.
If you don't know what any of that means that's fine for now. Those are some pretty basic concepts that you'll learn pretty soon if you're serious about this.
This guy knows his shit. Learn from him. Take it slow. Don't just watch the video and go "Yeah that makes sense." You need to KNOW IT. Drill the concepts a few hours a day.
You could buy a music text book.
Or get an actual guitar teacher. I'd recommend learning jazz because unlike a lot of rock or pop players they actual know their shit about theory and their instrument. You kinda have to know your shit to play jazz. Either that or classical. But jazz theory is more in line with modern music.
Segway: Buy a Real Book
Start off in there with Autumn Leaves or something else easy.
If you're really beginner-y start here.
While that guy's course is good it really focuses on technique. You learn basically no theory from that guy. Just shapes and tabs. Doesn't even use standard notation. His jazz course is ok. It's on his side bar.
This guy's stuff is good for a beginner in jazz. But a beginner in jazz is not exactly beginner level for some other genres. I think you need a pretty solid level of understanding to understand what he's talking about.
That should get you started..
[Edit] Some people have this disconnect. They think that learning theory is somehow separate from song writing. Learning theory will open so many doors to you and show you why and how things work. So that you can actually understand what you're doing.
If I wanted to build a house I could just jump in and start building a house. I'd probably come across a lot of problems. My first house might suck and have a leaky roof or bad plumbing or something. But I could probably learn a long the way. Maybe after I build a ton of crappy houses I could figure out for myself why things work.
Or.. I could look through the writings of the millions of house builders that came before me and see what they found out works and what doesn't. Then maybe my first house will have some issues and it might not be so easy to pull off but I'd be better off learning from the people who came before me than trying to figure it out myself. By doing this I have just saved myself the time of trying to rediscover the wheel so to speak.
That's what learning theory will do for you.
Anybody who likes this story should read his autobiography. It's full of absolutely crazy shit, and yet he comes across as a really intelligent, normal guy.
http://www.amazon.com/The-Long-Hard-Road-Hell/dp/0060987464
You basically need to do two things: 1) start analyzing music that you like, both its form and function (harmony, for instance), and 2) start to study the art and science of mixing. Get a good book on the subject like Mix Smart or even The Dance Music Manual and start studying.
Mixing your tracks well can turn a okay song into a serious floor-shaker simply by virtue of significantly increasing its production quality. A simple tune that sounds amazing can have a huge emotional impact on the listener, and so much the better if the music is really well written to begin with.
This, of course, is where the analysis comes in. Try to identify why you like the tracks that you like. Is it the way the songs build? Then replicate the form of the song. Is it the way the harmony makes you feel? Then learn how to play that harmony and try to understand what's happening from a theoretical point. In my opinion, you should take it upon yourself to learn basic music theory at the minimum, but if you have a good ear you probably don't need to fret about it too much. Producers that can read and write music aren't too common (the really good ones almost always do, though).
For a while, you'll probably just sound like the producers that you like, but eventually you'll begin to internalize what you've learned and your "voice" will develop. It a natural progression as an artist to mimic your heroes — don't fight it.
If you're new to guitar, don't worry about a 'routine'. Buy a classical guitar songbook, or better yet, a classical guitar lesson book. A really good one is by Noad, and has good classical pieces to learn: http://www.amazon.com/Solo-Guitar-Playing-Frederick-Noad/dp/0825636795/ref=sr_1_1?ie=UTF8&qid=1317996077&sr=8-1
Rather than focus on scales (which are very uninteresting), try working through a book, or pick a few classical guitar pieces to work on. I think this is the best way to hone your chops, but also keep your interest. You want to be motivated to practice, and scales just don't do that for me.
Classical guitar, if you work at it enough, will naturally build your finger dexterity. In contrast to scales/fingerboard exercises, you are able to see improvement in very definable ways--that is, from one piece to the next. That's where the excitement and drive to play comes from for me.
Good luck!
I wouldn't doubt it. I read the Wu-Tang manual and RZA talks about how GhostFace was someone you wouldn't want to mess with.
I'm paraphrasing cause I don't have the book on me, but he said there was one instance where they got in a fight and Ghost was holding two guy's heads underneath each arm and was about to fight a third dude.
Amazon link to the book (was a great read): http://www.amazon.com/Wu-Tang-Manual-RZA/dp/1594480184
Bun B coloring book
Have you ever read "Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream" by Dave McGowan? It's a must read for everyone to get insight on how these "movements" are created for control. Much like Antifa today. The Hippy movement was a creation of the MK Ultra mind control program....which certainly runs them like cults.
If you haven't read the book yet, I highly recommend it. It's fascinating, especially for those who lived through that period of time.
https://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122/ref=cm_cr_arp_d_product_top?ie=UTF8
I studied out of Tonal Harmony by Kostka and Payne. I found it pretty easy to approach, and the accompanying workbook really reinforces the lessons.
Most college music theory texts have a companion workbook filled with quizzes and practice problems/questions. Where I went to undergrad we used Tonal Harmony and the school I'm going to now uses The Musician's Guide to Theory and Analysis. Not sure if that qualifies as being "accessible," but it's good material if you're willing to part with all those dollars. Text books sure are expensive.
Thing is, that sort of thinking doesn't really work too well in jazz - there isn't really "repertoire" in the same sense as in classical music. Some standards are more complex than others, sure, but the difficulty is really what you make of it. In jazz, you generally work from what are called "lead sheets", where all you have is the melody and the chords. Here's one for When I Fall in Love. Pretty simplistic, right? Here's Oscar Peterson playing it. The lead sheet is the basic framework for what he's playing, but all the embellishment and runs and extra chords and everything is just coming from him. So you can't really say whether When I Fall in Love is an "easy" standard or not.
As for how to learn, the single best way is to get a teacher. But if you just want to start dabbling, I would suggest getting some books of transcriptions of famous jazz pianists, just to start getting the feel and sound of it in your mind. Those books will have real performances transcribed note-for-note, so you don't need to know how to read lead sheets or improvise to play them. I would also check out Mark Levine's Jazz Piano Book to start learning the theory behind it all, and a Real Book to start practicing with. If you're good at teaching yourself things, the combination of those two books will give you years and years of material.
But I want to re-emphasize that getting some kind of teacher or mentor will help enormously. It's good for classical music, as you know, but jazz is even more like learning a foreign language, because it's improvised. If you just want to dabble for fun, that's fine, but if you get serious about jazz, find someone to guide you, even if it's just an hour a month.
I'm assuming you're in high school. If you get a chance, go see your All-state (or All-region) Jazz Band. See how you fare against those guys. Also, chances are you are going to need to know how to read music, have some chart-reading skills, and improvisation chops. For guitar, bass, or drums, they are going to expect you to know jazz fundamentals. Pick up a Real Book, learn some charts and be able to hold your own in a combo.
Also agree.
I've been producing for ~6-7 years and sound design is still my biggest challenge by a huge margin.
There are two approaches that work for me:
The Dance Music Manual helped me too. I still refer back to it when I'm stuck.
1 year isn't long at all. There are some gifted individuals that seem to get it from the go, but usually it's a lot of work.
Keep at it, and as Neutr4lNumb3r said, practice!
Hey Bjeaurn,
I'm a struggling techno producer myself as well. The main source of learning will, I guess, always be already existing music. Listen carefully and try to understand what is going on in the tracks you listen to. How many instruments do you hear? What effects are there used when and where?
I cannot listen to any music without figuring out what is going on.
Also I'm reading these books at the moment. http://www.amazon.com/Dance-Music-Manual-Second-Edition/dp/0240521072
and
http://www.amazon.com/Ableton-Live-Power-Comprehensive-Guide/dp/1598639757
It's a really great help, you learn so much from it.
Also /r/edmproduction is a place you need to go.
And it's obviously important to just make music as much as you can. It's not something you are gifted to just do. You will have to put a lot of time in it.
Northern Sounds has an interactive version of the classic Rimsky-Korsakov Principles of Orchestration. I often find myself referring to it when I'm arranging and/or orchestrating along with my hardcover Adler text.
It helps to get a book on orchestration. I have Adler's and in it he examines each instrument and family. Helps familiarize yourself with their idiosyncracies.
Edit: Added link.
Some classic texts on orchestration that you might find useful:
Hey man,
Same thing happened to me a few years ago. I just started writing on paper with piano if I needed help with pitches. I'd write as many pages as possible and then put what I did on finale just to hear what I wrote. It seems like a good method because nothing really beats the formatting of a good notation program but as many of my Comp. Prof.'s have said, "Midi isn't real. It will trick you." I think that's the most important part of this whole process. Something you write on midi might be very impossible (or uselessly difficult). Also, feel free to bring some music to someone who actually play the instrument you are writing for and asking them to play through it. Most performers I know are always willing to do this if they aren't too busy already!
When I started composing microtonaly (year or so ago) this became an even bigger problem for me and I started having to rely on my ear and experimenting with different types of synthesizers to determine an approximate sound. It gets better as you write things out though. Just by working things out from your head to paper for a while you develop a stronger ability to compose without midi crutches.
Some benefits of doing this you might not have thought of:
Hope this convinces you this is a good idea.
Make sure you have a strong hold on proper notation/orchestration (A useful resource - http://www.amazon.com/The-Study-Orchestration-Third-Edition/dp/039397572X, bit pricey though) And also, this site has been a miracle for me - http://www.music.indiana.edu/department/composition/isfee/. This will save you a lot of time.
Best of luck! Also, just trust yourself and your ear. This stuff takes time, patience, and practice (like all things music).
Edit: Some Trivia - many composers of the past (those without the miracle/curse of notation software) would just sketch things out and short hand things ("repeat this here", "ostinato bass" etc.) and then hand it to a publisher to put together when it was done. For example, Beethoven. I mean look at this crap - https://www.google.com/search?q=beethoven+hand+written+music&client=firefox-a&hs=fUD&rls=org.mozilla:en-US:official&channel=fflb&source=lnms&tbm=isch&sa=X&ei=8kpKUqyCL4fi2AXV0YGQBA&ved=0CAkQ_AUoAQ&biw=1600&bih=701&dpr=1#facrc=_&imgdii=_&imgrc=MP65Ypeh4KL_nM%3A%3B-WsvncUQEMICJM%3Bhttp%253A%252F%252Fclassicalmusicblog.com%252F2007%252F09%252Fimages%252Fmvt1-facsimile-s.jpg%3Bhttp%253A%252F%252Fclassicalmusicblog.com%252F2007%252F09%252Fbeethoven-sonata.html%3B580%3B463. Think of the notation software as your robotic publisher. That's what I do.
If anyone hasn't read it I highly suggest reading his autobiography. I've read it a couple times, it's crazy interesting.
I hear you man...same boat. I hear a lot of recommendations for the Leavitt berklee guitar method books. These books
I'm personally working on adopting a fingering system similar to Leavitt and it's helped my playing a lot. My practice routine is:
You have to take it one step at a time. Learning something new will help you recognize where the holes are in your playing/knowledge. You probably have picked up a lot over the years, but if you're anything like me it's good to start over with some basics, because your knowledge is unstructured and there are a lot of holes. Adopt a fingering system like Leavitts or similar and you will start to connect things you already know. Make sure you know all the notes on the fretboard. Learn triads all over their neck and then learn the 1st and 2nd inversions of those triads.
Check out Frank Vignolas modern method course on truefire, it's very helpful for unlocking the neck of the guitar. He goes over basic scales, arps, intervals, and pretty much holds your hand while you learn it. So if you have ADD like me, it helps. Reminds me I need to finish that course..
Good luck, and have fun.
here is the link where i got it man
http://www.amazon.com/gp/product/155022798X/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1
Check out The Tao of Wu or The Wu-Tang Manual by RZA. very cool and interesting
EDIT: forgot to mention DMX's autobiography its reeeaaally dark tho
In case you wanted to buy it.
Bun B's Rapper Coloring Book
Gangsta Rap Coloring Book
I got these for my brother for Christmas, cheap enough to get a more serious gift to go with it
Not a stretch for him to play that character, since he was constantly dealing and hosting parties all night before Anthony had to wake up for school. Source: Kiedis autobiography
there are still people that know it seems
http://www.amazon.com/Bun-Rapper-Coloring-Activity-Book/dp/1419710419
David McGowan uncoverd this years ago before he was killed
Author Dave McGowan wrote a book, Weird Scenes Inside the Canyon, about the nest of creativity that was the rock scene in and around Laurel Canyon in the days of Zappa, The Doors, and Joni Mitchell. Lots of strange occurrences happening in those days, maybe more than mere coincidence can explain. Here's the website
Tons of now-classic rock came from Laurel Canyon, by the way. Even if you think McGowan is a kook, his book is a fascinating read.
You're new here. Welcome, come see how deep the rabbit hole goes ....
https://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122
This is definitely not a rule for how to write music now, just a rule for how to write music in the style of Bach/Mozart/Beethoven/Haydn etc. If you're interested in Tonal (read: Common Practice) Harmony, here are a few good theory books used in Freshman/Sophomore college music curriculums (in my order of preference):
The Complete Musician
Techniques and Materials of Music
Harmony and Voice Leading
Tonal Harmony
I'm also a composer, and I tend to write more modally (and sometimes without a strict tonality), so I just teach these, I don't necessarily follow them in my own writing.
dance music making manual
Also, make sure to inject your own playing around in your DAW between every step. Your biggest hurdle will be becoming comfortable with the software you choose because they are HUGE.
ps; If you pirate something, please buy it before you release a song. Don't be a leech.
Also the 'Dance Music Manual' by the same guys covers all the fundamentals
18 is young as fuck. You're fine. Get one of these: https://www.amazon.com/Real-Book-Bass-Clef-Sixth/dp/0634060767/ref=tmm_other_meta_binding_swatch_0?_encoding=UTF8&qid=&sr=
Start off by listening to a ton of jazz. Afterwards, learn your major, minor, dorian, and mixolydian scales/modes. Check youtube, there's a ton of good tutorials if you don't know them yet. Then buy a real book and start attempting to follow along with the changes. Start with just the root notes and later add the 3rds and 5ths. Here's a book that I think explains walking basslines pretty well, and another one if you're interested in soloing.
Here's a list of jazz songs most students learn early on:
Afro Blue
All Blues
All Of Me
All The Things You Are
A Night In Tunisia
Au Privave
Autumn Leaves
Beautiful Love
Black Orpheus
Blue Bossa
Blue In Green
Blue Monk
Blues For Alice
Body And Soul
Cherokee
Cotton Tail
Don’t Get Around Much Anymore
A Fine Romance
Footprints
Four
Freddie Freeloader
The Girl From Ipanema
How High The Moon
How Insensitive
Lady Bird
Maiden Voyage
Misty
Mr. P.C.
My Funny Valentine
Oleo
Ornithology
Recorda-me
Red Clay
Satin Doll
So What
Song For My Father
Sugar
Take Five
Take The “A” Train
There Will Never Be Another You
Tune Up
You mean the Real Book? Pretty sure it's only chords and melodies though.
Edit: My mistake, they actually did make one for bass clef: http://www.amazon.com/The-Real-Book-Sixth-Edition/dp/0634060767
Do you mean the real book?
His autobiography "The Long Hard Road Out of Hell" is still my favourite book. It was written shortly after Antichrist Superstar, so it doesn't follow-up, but his childhood and adolescence is very, very interesting.
He just did.
Music Theory for Computer Musicians & Dance Music Manual in books. You could use Musictheory.net to learn the basics.
I started DJing first then have recently been doing some production. Here's my recommendation in priority order:
Finally just a word of advice: stick with it, take your time and believe in yourself. Try to resist copying whatever is the most popular and make what you like the sound of. Find your sound and your DJing style. :)
http://www.amazon.com/Dance-Music-Manual-Second-Edition/dp/0240521072
http://www.audio-engineering-courses.co.uk/audio-mixing.php
http://www.vintagesynth.com/resources/glossary.php
http://www.markwhite.com/vsp/glossary.html
http://www.sweetwater.com/expert-center/glossary/
http://www.sequencer.de/synthaudio/synthesizer-basics.html
http://www.scribd.com/doc/11435645/Glossary-of-Audio-Mixing-Terms
http://en.wikipedia.org/wiki/Synthesizer
http://www.wannaplaymusic.com/get-started/keyboard-terminology
> Add the E flat clarinet to the piccolo if you want some extra punch/piercing/volume.
Does anyone really want "extra punch/piercing/volume" from a piccolo?
> Add the oboes or clarinets to the flutes if the flutes sound too thin. Consider doubling these in octaves. Harmony can serve a similar purpose and provide a different timbre than exact doubling.
Writing flutes and clarinets/oboes together definitely brings the flutes closer to the sound of the reed instruments. I'd think unison is the best bet. Octave doubling is an effect all its own, and shouldn't be used without purpose. However, if done, doubling should occur over the highest voice or under the lowest voice.
> Clarinets and violins or violas can sound almost identical if scored creatively. They blend very easily.
In my experience, clarinet gets masked by strings if they're in the same register. You're the clarinetist, though. What's your take?
> These are just a handful of ways to spice up your sounds. There are infinitely more, and you'll just have to experiment with them to figure out what you like.
"Experiment" is a strange word to use for an expensive ensemble that requires a lot of manpower and a huge amount of skill to write for. Assuming OP even has access to an orchestra, I would be incredibly surprised if the conductor or any of the musicians tolerated repeated experimentation with bad orchestration that wastes their rehearsal time. Better and cheaper is to get a couple of books on orchestration (Rimsky-Korsakov, Piston, Adler, Gerou/Black), do exercises, have a composer who knows what they are doing critique said exercises, and study the shit out of scores. And no, sound libraries are not the same thing as a real orchestra.
>Don't underestimate the value of letting an instrument stand on its own though. Don't double everything or else you'll get a machine instead of an orchestra. That said, the best way to figure out what sounds good is to pick up some scores you like, listen to them while you read, and figure out what sounds you like.
Solid advice. Overscoring is the most common mistake of composers unfamiliar with the orchestral medium.
This is the standard orchestration text that will cover this stuff more in-depth.
I'd recommend Jazz Guitar: Complete Edition by Jody Fisher. It covers all the important topics in a fairly straightforward way and comes with a CD of examples and backing tracks. It's aimed at intermediate guitarists, but your experience should be sufficient.
The old standard was Mickey Baker's Jazz Guitar, but I'm not a huge fan. The learning curve is extremely steep and there's not a great deal of theory or explanation. It'd be a really useful companion to lessons with a teacher, but I think that most beginners would really struggle with it.
A good alternative to the Jody Fisher book is A Modern Method For Guitar by William Leavitt. The learning curve is fairly gradual, but it's tough going - everything is written in standard notation and there's no real instruction as such. It seems to be inspired by the Suzuki method. Everything is taught through progressively more demanding examples. You probably won't get stuck on anything, but you will need to do a bit of thinking to figure stuff out for yourself.
If you want to learn jazz theory in depth, I'd strongly recommend Jazzology by Rawlins and Bahha. It's the clearest, most elegant explanation of how everything fits together in jazz. It's not specifically written for guitar, but the theory is universal. The Jody Fisher book covers all the theory that you really need to know, but Jazzology would be a really good supplement if you like to understand things in detail.
In your jazz guitar journey, you'll probably come across The Real Book. It's an essential reference text, containing lead sheets for hundreds of the most popular jazz tunes. It's how most of us learned our repertoire and most of us still have a copy in our gig bag pocket. Today, you have a huge advantage in learning tunes because of the fabulous iReal Pro. It's an app version of The Real Book, but it can also play backing tracks for any tune in any key and at any tempo. It's an absolute boon when you're learning to play solos.
Finally, I'd suggest just listening to a whole bunch of jazz, not just jazz guitar. You should know Joe Pass, Ted Greene and Wes Montgomery, but you should also know Miles Davis, John Coltrane and Dizzy Gillespie.
Well it sounds like it's time for you to learn a new skill: accompaniment. Just because the melody is written out for you doesn't mean that you have to play it.
Start by playing bass notes in your left hand and two or three note chords in your right hand. Find a fakebook (or some online leadsheets) and figure out how to play from chords. You need to start moving away from printed sheet music and towards understanding how chords and accompaniment work.
If you find a specific song you would like to work on, feel free to post it and I would happy to talk you through how to approach accompaniment.
this one has been good for me
https://www.amazon.com/Real-Book-Hal-Leonard-Corporation/dp/0634060384/ref=pd_sbs_14_1/137-3999734-2361828?_encoding=UTF8&pd_rd_i=0634060384&pd_rd_r=3a832c6d-71c2-11e9-a563-4fe76fa75f96&pd_rd_w=kQPQY&pd_rd_wg=GGCbY&pf_rd_p=588939de-d3f8-42f1-a3d8-d556eae5797d&pf_rd_r=B0QS47ACR22PTWZE6QXR&psc=1&refRID=B0QS47ACR22PTWZE6QXR
Get a copy of The Real Book and start learning songs. This isn't a hardcore technique workout but more of a way to A)build repertoire and B)get your hands more familiar with playing jazz changes.
The word you're probably looking for is "accompaniment". However, you probably don't want to search using this term.
Any popular music that is published is usually arranged for "Piano/Vocal/Guitar", and I don't really know of a standard term for this type of sheet music. For what this looks like, check out any of the popular sheets on http://musicnotes.com. These are arranged so that you can play the song as a piano solo if you want, but if you want to just accompany someone else or play in a band, you would just look at the guitar chords placed above each line of music (e.g. "G", "Cm7", "D", "Bsus4").
The other type of notated music used for accompaniment is called a "lead sheet". This has only the solo line (the tune/melody of the song) and the chords. So it's basically just the top half of what you see in a "piano/vocal/guitar" arrangement.
The other term you'll see is "Fake Book". A Fake book is just a book containing a large number of lead sheets. If you're playing jazz, the most popular book of lead sheets for jazz standards is called "The Real Book".
Finally, on many "guitar tab" sites, you can find just the chords for songs (although there are often lots of errors). Look for versions that say "chords" instead of "tabs". Here's an example
No matter what type of sheet music you're looking at, if you're playing with others, you'll need to learn to play by reading chord symbols instead of notes on a staff. When searching for music, you'd want to include one of these terms: "chords", "tabs", "sheets", "lead sheet", "fake book", "piano". Don't worry too much exactly what type of sheet music you get, even if it's for solo piano; as long as there are chord symbols on it, that's all you need.
Here is a list of links for you to get started:
If you're into jazz, get yourself a Real Book! It's reasonably basic sheet music, and full of classics.
My suggestion is to focus on the backing track stuff first. Know the backing tracks forwards and backwards, pick a particular idea and stick with it to nail it down. If you want to improve your musicianship chops, write out the part you are going to play. Like on staff paper and everything.
I am not the best person to give advice on improv, because I have always sucked at it. If anyone has any tips for how you can learn to improv effectively in 5 weeks, I'll be quite interested in their advice as well. Though one thing I have learned about improv is that nothing is truly improvised. Building a library of licks and stringing them together on the spot isn't the same as pulling notes out of thin air. Even the most impressive improv musicians have a basic idea in their head before they start.
To practice sight reading, get a Real Book and run through it. Sight read the melody lines, and then build bass lines from scratch over the chords. Learn the style and tempo terminology. Understanding the directions at the top of the page is as big a part of sight reading as the notes themselves.
Aim to be completely prepared one week before the actual audition. Then spend that last week running through it all again. And again. And again. You want to let muscle memory kick in when the nerves start fighting you in the audition chair.
My favorite musical aphorism: "Amateurs practice until they get it right. Professionals practice until they can't get it wrong."
You mentioned you like jazz, feel free to hang out with us /r/Jazz
Internet is great, and there is a lot for good free ressources. You'll have to go through a bunch of crap though, it can be confusing for a beginner and takes valuable time away to an already time consuming hobby.
So here are a few books I personally recommand.
Jazzology, an encyclopedia of theory centered around jazz that you can use with any genre. It's really good.
The real book, a good way to learn jazz standards with sheets that aren't so painful, using solfège for melody and letters for chords. This is the format I use with students.
The Jazz Theory book, or anything from mark levine.
The Complete Musician is good if you can find it for cheap, which is no easy task.
The definition of perfect pitch includes knowing the names of the notes. Without this knowledge, it's just "having a good ear". A good way to practice it is picking random notes and visualizing what the chord will sound like before playing it. That vizualisation aspect is the amazing thing about absolute pitch and helps with composing. The tuning or knowing what key you're in things are cute but fairly irrelevant.
Anyway, have fun.
If you are confronted by a mode, run away. Learn the way the greats actually learned back in the day:
https://www.youtube.com/channel/UCDdKVro-7hS8cMjBrcqaAMQ/videos?view=0&sort=da&flow=grid
Unless you only care about post "kind of blue" Jazz, Levine's Jazz theory is a detrimental distraction:
http://www.mtosmt.org/issues/mto.00.6.1/mto.00.6.1.rawlins.html?q=mto/issues/mto.00.6.1/mto.00.6.1.rawlins.html
It's hard to imagine a work which thrown so much real jazz and so many great players under the bus.
This looks alot less harmful:
https://www.amazon.com/Jazzology-Encyclopedia-Jazz-Theory-Musicians/dp/0634086782
poor guy still needs modes though. My favorite theory book, which since you know piano, might be interesting. It's a great supplement to Barry Harris Jazz theory.
https://www.amazon.com/gp/product/1423412494/ref=ppx_yo_dt_b_asin_title_o01_s00?ie=UTF8&psc=1
Almost. There are other differences between "classical" nylon string guitars and steel string. Neck width (I mentioned space between the strings, which it's related to) is one, for sure.
Another "family" difference is modern steel strings tend to have the neck intersect the body at the 14th fret. Classical guitar necks join the body at the 12th fret. This matters somewhat if you sit and play "classical style" with the guitar balanced across your left leg (if you're playing typically right handed), neck inclined at more than 45 degrees, with the headstock level with your chin. See here for examples A steel string neck will be a bit longer than the classical neck, and the guitar will balance differently. Not a huge deal (I play my steel string in a classical position), but another difference.
Here's a huge difference - the sound. The steel string guitar was engineered with steel strings in mind. The tension exerted by steel strings on the bridge is about twice that of nylon strings. The bracing, thickness of the sound board, etc., are all designed with that in mind. Lower tension nylon strings just won't drive as much sound out of your guitar as they would a classical guitar (with much lighter bracing and thinner top). Also, you'll run into a technical problem with where/how to tie off nylon strings on your bridge. Unlike steel strings that terminate in a little round thingy that is trapped under the bridge pin, nylon strings just... end. On a classical bridge they're looped around and tied off in a fancy knot.
So my original advice stands, I think. Play your guitar just as it is. If you really like playing the classical pieces, consider getting a used classical guitar.
Now, as far as your complaint re: damping strings near the top of the neck. I hate to say this but that's your technique, not the guitar itself. Yeah, it's a bit easier to not interfere with strings on a wider classical neck, but there are plenty of steel string players that need to play clean chords without any thumping or buzzing. One thing classical lessons are good for is learning efficient techniques with left and right hands - practicing from the get-go on getting your left hand fingers pressing down vertically on the strings with the tips of the fingers, not slanting the fingers, keeping the thumb low behind the back of the neck, the curve of the hand, keeping it all relaxed and ergonomically sound... There really is a reason the "classical posture" evolved to what it is - it's about as ergonomically neutral (i.e., not holding lots of unnecessary strain or twisting) as you can get playing a guitar.
I started learning on a steel string guitar, too, using Noad's Solo Guitar Playing. I played on a steel string for a couple of years in high school before getting my first classical guitar, so it's possible!
Edit: fixed link.
Reminds me of The Gangsta Rap Coloring Book. Pretty much all brown...
Gangsta Rap Colouring Book
Read scar tissue
Link For the lazy...
get at it then! for beats (people say it's easiest for beginners) and here's for the rapping part
I suggest getting a copy of Frederick Noad's guitar method, It starts our pretty simple but it should help you transfer your prior knowledge over to the classical guitar. It includes etudes as well as repertoire pieces.
Pick up the Noad book (https://www.amazon.com/Solo-Guitar-Playing-Book-4th/dp/0825636795). It covers all you need to know about rhythm and notes and comes with a lot of exercises. Learning to read music and actually being able to play from sheet are two entirely different things and takes lot's of practice. It can be quite frustrating to start out doing the simple exercises when you're able to play more advanced pieces but if you want to play classical guitar you'll need to bite the bullet eventually since a lot of pieces are only written in standard notation.
off the top of my head:
and most recently:
I actually won one through a white elephant yankee swap. Jokes on them, though, as it's quite enjoyable and relaxing.
I also happen to own Bun B's Rapper Coloring and Activity Book.
Well that was far too nice and now I feel kinda bad. Honestly, I love when people analyze hip hop and rapping specifically, so this was just me being kind of contradictory for the sake of it. Who are some of your favorites, or people who encompass most/all of these aspects to you?
Edit: Also, the guy that recommended How to Rap (https://www.amazon.com/How-Rap-Art-Science-Hip-Hop/dp/1556528167) is definitely right in the fact that I think you'd enjoy the read.
The author converted the site into a book for sale
https://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122
If you want to get into large ensemble stuff rather than chamber music, I strongly suggest you pick up a book on orchestration. Here is one that I've read and would recommend. It will teach you some of the typical textures that each section of the orchestra is known for and gradually work you into bringing them together, starting with solo strings, to ensemble strings, to the entire string section, and eventually the whole orchestra.
If you've written prog-rock before, then I trust you know your fair share of theory, or at the very least, some degree of harmony, so you're probably fine on that end. What's more, you likely have some experience writing outside of the typical, pop-oriented verse-chorus structure, though you might want to also study a bit of the traditional forms used in classical music.
Beyond that, as was mentioned before, listen to a lot of the big names in orchestral music and steal whatever you can get away with.
Missing Dance Music Manual - Rick Snoman
So this is what you learn:
-How to create an 808 Kick
-How to arrange a track
-How to create a "lush sparkling mix"
-How to use reverb
-How to create a build up
-Basic sound design
-How to use distortion and compression
NOPE. Not for $40.
For mixing: http://www.amazon.com/Mixing-Secrets-Small-Studio-Senior/dp/0240815807/ref=sr_1_1?ie=UTF8&qid=1427666706&sr=8-1&keywords=small+studio+mixing
Sound design, arranging, etc.: http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=sr_1_1?ie=UTF8&qid=1427666724&sr=8-1&keywords=dance+music+manual
The first book I linked to is literally the bible of mixing. It's a truly great resource. The second is a great cursory overview of music theory, sound design, and several aspects of the big electronic genres: arrangements, keys, percussion. It even tells you settings for synthesizing kicks in each genre it covers.
This + This
also
http://www.learnjazzstandards.com/
plus listen a bunch
(not a pianist, just fiddle with piano enough to help myself)
The Real Book is what most people that I know use when jamming with other musicians.
That Laitz book is the one they use at a music school in Germany I’m looking to apply to. When I sporadically sat in on some classes at Peabody Conservatory through JHU, they used this one , which is fine but I’m curious about the difference between music textbooks.
My question is about figured bass notation. I never understood why just writing „42“ or „65“ can give you the notes. How do you know if the interval is a major or a minor 4th or 2nd etc? I.e., if the 7 chord is a dominant 7, or flatted 7, or major 7? That’s why I find jazz notation clearer—it always tells you precisely the quality of the chord (aside from those sneaky and vague „alt“ chords which I hate :). Are you just supposed to know the position of the chord in the scale (ah, it’s a chord built on the 7th scale degree so the 7th must be B7b5? Or this 42 refers to the V chord so we know it’s seventh is flatted?) and that seems like it would not always be a sure bet to tell whether the 7th is flatted or not.
Happy cake day!
You’ll want to learn music theory. A pretty standard book that I read was called Tonal Harmony. It may be a little heavy, but it will give you the underpinnings of Music theory in a comprehensive way.
With that, songs usually have lyrics, which that book doesn’t explain. In fact, I’m in the middle of a pretty good book on songwriting called Tunesmith It really gets into meter, rhyming, etc. that goes into how lyrics are put together with quite a few examples.
How to make a noise is a great free ebook to start you off learning synthesis. The dance music manual is another great book with a section on ambient and chill-out
Since we're in EDMProduction:
Rick Snoman's Dance Music Manual gets recommended a lot, I've only read a bit but like it.
Welsh's Synthesizer Cookbook is a splendid read on how subtractive synthesizers work.
Rick Snoman's Dance Music Manual
Also check out his Dvd courses, he's a brilliant teacher!
Learned more here, than 4 years of Youtube tutorials, reading articles, and lurking forums.
http://www.dancemusicproduction.com/
I took an arranging course for my music degree and I really love the textbook they made us purchase. It's this! http://www.amazon.com/Study-Orchestration-Third-Samuel-Adler/dp/039397572X/
I personally think it's very helpful. :) I know it's expensive, but I think the investment is worth it.
As for counterpoint, I like Joseph Fux! There was a textbook that I used, but unfortunately I don't remember it. (It's at home and I live at an off-campus apartment) http://www.amazon.com/Study-Counterpoint-Johann-Joseph-Parnassum/dp/0393002772
I hope this helps :) But if you want somethiing free there's this .... http://imslp.org/wiki/Principles_of_Orchestration_%28Rimsky-Korsakov,_Nikolay%29
Here is a list of books that I own and were recommended to me.
Harmony and Voice Leading by Aldwell/Schachter/Cadwallader
Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven by Caplin
Study of Orchestration by Adler
20th century Harmony by Persichetti
Ahh, that makes sense, sorry \^\^;
There are books on a huge variety of subjects in music, so it does depend a little bit on what you are interested in specifically. For a broad overview, I liked A History of Western Music - the current edition is the 8th, but much of the materials from the 7th edition are available online. Another book I recommend is Harold C. Schonberg's The Lives of the Great Composers. It is less in-depth, but is written in a more narrative style while still hitting on a lot of the "who's who" in classical music from the Baroque to the 20th century (although it's maybe a tad outdated in the later 20th and 21st century).
Besides those two, I actually don't have any others on the top of my head that are good overviews. /u/m3g0wnz does have a guide to music theory textbooks on the sidebar that details out some of the main texts in that area. And, of course, there are books that specialize on a variety of subjects within music theory and history - Ebenezer Prout's book on fugues is one such example that I've looked at, as well as both the Kennan and Adler on the subject of orchestration. (Actually, Kennan also wrote a book on Counterpoint.)
On the subject of sight-singing, I've used both Rhythm and Pitch and A New Approach to Sight Singing in my aural skills classes - I like the Berkowitz a little better in the way it's organized, but both offer plenty of examples for practice. Alternatively, picking up a hymnal is possibly an easier alternative to sightsinging that gives you lots of tonal material for practice.
With most of my other suggestions, though, you don't really need a book. Print out some scores on IMSLP or pick up a cheap study edition (like this one of Mozart piano sonatas) and work through a harmonic/formal analysis.
With transposition, I think probably just working through some scores on IMSLP would be a good start, as well - I can't think of any other better way to get exercises for that. It's one of those topics that's pretty easy to quiz yourself with as long as you keep yourself honest. :)
Edit to add: As far as specifics of literature, that is obviously pretty instrument-dependent. I am a vocalist, and I usually choose language first and then begin exploring pieces that might work with my current technical goals. I know a lot of instrumentalists treat genre/time period the same way. So depending on your instrument, you may have a different approach, but it helps to narrow things down to a few composers you might like to explore for your instrument, and then seeing if anything works for you. Although be wary - for me I end up getting so involved in lit studies that I have a list a mile long of pieces I want to study in the future. It's a double-edged sword for sure.
Sure! Here are a few that have helped me out:
The textbook that my school uses for beginning theory classes is The Complete Musician by Steven Laitz. It is a pretty comprehensive look at tonality, covering the very basics through 19th century theory. Isn't too pricey either: http://www.amazon.com/Complete-Musician-Integrated-Approach-Listening/dp/0199742782
Fux's Gradus ad Parnassum is a great place to begin working on counterpoint: http://www.amazon.com/Study-Counterpoint-Johann-Joseph-Parnassum/dp/0393002772/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1368896313&sr=1-1-spell&keywords=gradus+ad+parnasam+fux
Samuel Adler's The Study of Orchestration is my current go to book when researching the basics of different instruments and orchestration techniques: http://www.amazon.com/Study-Orchestration-Third-Samuel-Adler/dp/039397572X/ref=sr_1_1?s=books&ie=UTF8&qid=1368896395&sr=1-1&keywords=samuel+adler+orchestration
Lastly, once you feel you have developed a solid foundation with your theory knowledge, I can't stress enough the importance of studying/analyzing scores. It is (in my opinion) the best way of learning how to compose. One can learn so much from one score!
It's interesting, but it's getting a little old now...
Of course, it's still important as a historical document, but some of the informations are outdated (some of the techniques, registral qualities) since orchestras, and instruments themselves, have changed since Berlioz wrote his treatise.
I, personally, use Adler's Study of Orchestration, which I think the best orchestration book for modern orchestras.
If you're in to dance music, The Dance Music Manual is densely-packed, but still easy to read and fun.
Reason 101 has a "visual guide to the Reason Rack" that's really good. PM your address and you can have mine. The type is too small for my eyes to read.
> BTW, that wiki song structure article is a mess
Agreed. I linked to that wiki article without even really looking. Personally, I like the following books that go into a lot more detail in regards to production and EDM:
All the above are solid books.
For jazz get a Real Book.
A fake book is just a book of lead sheets. A lead sheet is the chords and melody of a song with usually little else. They're called fake books because they can be used to fake a tune one does't really know. By and large, the most popular jazz fake book is called the Real Book. There are 3 volumes and 5 editions; it was produced by students at Berklee School of Music in the 70's. That jazz style that is so often in music notation software is based on the Real book's handwritten sheets. It's illegal as the songs are unlicensed, but Hal Leonard has created a 6th edition that is updated and fully licensed. You can get it at amazon. You can find versions of the original at your local seedy music store and online with a bit of searching. There are a whole bunch of others. One really excellent one is the New Real Book published by Sher. The tunes are dead accurate and contain most of the arrangements.
Pick yourself up one of these and start playing around with the tunes.
I'd probably suggest this one, or maybe this one
In terms of walking bass, the only to get better at it is unfortunately just to keep working at it. Start on a not-too-complicated tune such as Satin Doll, or something else with lots of II-V-I progressions in it, or a 12-bar blues, and work up to more complicated charts.
Here's a "quick and dirty" method to work out some walking bass lines. It's a bit simplistic perhaps, but it will at least get you started, and it does work. Assuming a 4/4 time sig:
ON BARS WHERE THERE ARE TWO CHORDS PER BAR:
Beats 1 & 3: On the beats where the chords fall (1 & 3) play the root (at least at first).
Beats 2 & 4: On the other beats (2 & 4) play an approach note that gets you to the root of the next chord, so a note either a half-step or whole step above the note you want to get to. Use your ear to judge which is best. So if the chord on beat 3 is G7, on beat 2 you could play either A, Ab, F# or F.
ON BARS WHERE THERE IS ONLY ONE CHORD PER BAR:
Beat 1: Play the root (again, at first)
Beat 4: Play an approach note as above, so either a half or whole step above or below, whichever sounds best.
Beats 2 & 3: You have a few options:
a. outline the chord notes. For example root, 3, 5 then, or root, 3, 5 then to your approach note.
b. move by step (don't be afraid of chromatic notes, you'd be surprised how often they work). So going from Dmi7 to G7 you could move up be step playing D, E, F, F#.
c. Try going from the root on the first beat up or down to the 5th on the second beat, then keep going in the same direction to the root an octave above or below on the third, before hitting your approach notes.
d. Do something else entirely.
So a sample bassline for the first 8 bars of Satin Doll might look something like this. Note that in the last bar it moves completely by step while in the three bars before that it uses that root-fifth-root pattern. Obviously that's just one way to do it. When you're new to walking bass and learning a tune don't try and go right through straight away. Get from bar 1 to bar 2, then from 1 to 4, and so on. Build it up in stages, and try different ways to get there. If you can figure out how to get up by step to the next chord, then try moving down by step the next time.
Now, before anyone tells me that I am the awful spawn of satan and I have killed Jazz by explaining things this way and thus downvoting me to the diminished 7th circle of Hell, I know it's a very simple way of explaining it, I also know that walking bass can be a wonderfully nuanced thing with infinite variety. But we've got to start somewhere and the above will work. As with everything, the ear has to be the final judge.
Jazz is a very wide subject. There are some good Real Books you might wanna buy to learn some jazz standards:
The Real Book
http://www.amazon.com/The-Real-Book-Sixth-Edition/dp/0634060384
The Real Book vol. 2 Low Voice
http://www.amazon.com/Real-Vocal-Book-Vol-Voice/dp/1423451236/
There are a ton of fake books out there, I would suggest buying one called The Real Book Sixth Edition. It's the most popular one to my knowledge and is a great resource. I'd say its a little better for developing harmony than it is melody (since most melody that actually gets played in jazz is soloing), but it's a great tool for familiarizing yourself with jazz standards as well as seeing what kind of chords appear in jazz and how they function
Building Walking Bass Lines
Hal Leonard Bass Method
the real book / 2
The real book is a book containing a collection of lead sheets with transcribed melody and chords in the right transposition and clef (it's available in C in bass and treble clef, Eb and Bb in treble clef and a vocal version is available too). Usually there is info of the specific version being transcribed, so you'll maybe be able to find it on youtube so the structure is exactly as written.
It's really good, and has the majority of the songs you'll want to play regularly as a relatively mainstream jazzer. The "legal" commercial version the wiki article talks about is available at Amazon for less than twenty dollars, if not your favourite music store. Probably the worthwhile investment for any serious jazzer.
Learn harmony. Study all you can about it.
Don't just learn the chord shapes. Understand them.
Once you get a sold harmony base, start soloing THINKING about the chord tones. Always be conscient about EACH note you are playing.
For example. You have a classic Dm7-G7-CMaj7 thing going. When playing over the Dm7 chord be conscient about the role of each note and how the roles changes when the chord changes.
Start with just the chord tones and try to connect them in such a way that your phrases make sense. Then add some more notes.
Also play with linking the notes with some chromatic ideas.
Harmony, harmony, harmony.
Get this book, it's really really helpful http://www.amazon.com/Jazzology-Encyclopedia-Jazz-Theory-Musicians/dp/0634086782
My two cents - love that piano sound, haha. Wish I had a grand to play on. I'm an amateur myself, but I think you can benefit from more of a focus on varying dynamics during your improv and the use of some modes or dissonance to add more atmosphere and color. /u/AtherisElectro makes the case well, but varying dynamics helps tell your story more - just like if you were telling someone a story in real life. You employ this well here in the beginning. If it is all turned up to 11 the entire time, the listener may start to tune out a bit because they are becoming used to the pattern. For example, modulating to a different key with a different atmosphere (more lydian, softer dynamics, etc.) can give you a second section and more of a journey for the listener. Of course, it depends on the story you are looking to tell. An excellent book for learning some ways to add color to your improvisation is "Jazzology: The Encyclopedia of Jazz Theory for All Musicians". Chick Corea is a master at this and listening to any of his innumerable albums should give you plenty of great ideas. Now I just have to start doing any of this for my own improv ; ).
I am on a really big Frank Zappa kick right now. I just finished his autobiography and was enraptured with how he viewed the world and music and I started to really get into his music.
i'm a huge zappa fan and i just got an MT-68, so i was pretty excited to see this, so you'll understand how funny i found it when he fired that thing up and played the preset accompaniment and not "G-Spot Tornado." i miss frank a lot. his autobiography is one of the best books you'll ever read, even if you don't like his music, i highly recommend it
http://www.amazon.com/Real-Frank-Zappa-Book/dp/0671705725/ref=sr_1_1?ie=UTF8&qid=1421169586&sr=8-1
You won't regret it.
http://www.amazon.com/gp/aw/d/0671705725?pc_redir=1404220645&robot_redir=1
He does!
Obviously you've never seen hymn dance.
buy it
That's just standard technique on a classical or flamenco guitar. The two strokes used for single fingers and called rest strokes and free strokes. Strumming is referred to as rasgueado.
The book I started with way back when is Frederick Noad's Solo Guitar Playing. Here:
http://www.amazon.com/Solo-Guitar-Playing-Book-Edition/dp/0825636795/
I know no shortage of guitarists who use it to teach and who started with it themselves. You'll learn a ton even if you already play, really can't recommend it enough.
I took a couple courses in classical guitar and we used this book. It's a very traditional, bottom-up way to learn, starting with open strings, then 1st position and so-on. You get out of it what you put into it. That means taking as much time as necessary with each section, even if it means spending 2 or 3 weeks on a single chapter.
It's quite possible to teach yourself, of course. The question is really how quickly do you want to progress? A teacher is your single best resource as they can give you feedback that a book or video just can't. So, if you can find a teacher in your area that teaches the style you want to learn, I would definitely go that route.
With that being said, as far as books are concerned, anything by Fredrick Noad will be helpful - especially his 2 book series on solo guitar playing.
Here's the Amazon link: http://www.amazon.com/Solo-Guitar-Playing-Book-4th/dp/0825636795
As for playing the classical guitar using an acoustic guitar approach, keep in mind you're conflating a couple of different things. A "classical" guitar is the instrument - nylon strings, wider neck, lighter body. Classical guitar is a style of music (and differs from Spanish guitar, but that's another conversation practically).
So, yes, you can learn to play folk, blues, jazz and any other sort of genre on a classical guitar. And you can learn classical guitar music on an accoustic (or even electric) guitar, though it won't sound the same and might be a bit more difficult.
A classical guitar book would start from the ground up in notation rather than tab and have lots of sight reading exercises.
Personally, I think Frederick Noad's Solo Guitar Playing is awesome. It's how I got started.
If you already have a theory background and already have some of the mechanical techniques of the guitar down, you could probably move at a good clip through it.
Any of the old jams posted in the sidebar will give you a selection of pieces of varying difficulty. You could also pick up the Noad book, Solo Guitar Playing vol. 1 for exercises and shorter pieces.
The classical guitar pieces not in standard tuning are few. Off the top of my head I can only think of one in drop D, and it's an arrangement of a piece originally for another instrument.
*edit to add link for the book.
I think that's probably his family and friends from his assisted living center. Hopefully someone got him this for Christmas.
http://www.amazon.com/Gangsta-Coloring-Book-Anthony-Morano/dp/0867196041
Buy a real book and learn some standards, also, listen to a lot of jazz and learn your scales. scales and modes
if you have no experience in sight reading, i would recommend Berklee guitar method 1.
I've been plugging the shit out of this book because it's the one I've found most useful, but try and find william leavitt's berklee method book http://www.amazon.com/Modern-Method-Guitar-Volume/dp/0876390130
Right from the beginning its solos and exercises really get you in the mindset of playing harmonically even when you are soloing
This Bad Boy: The Modern Method for Guitar
He's from SA but lives in Houston, like OP said. He also put this out with Bun B, and wrote a pretty great reverse ranking of all Texans QBs for Grantland a few years ago.
I would love the heavy metal coloring book on my main list and I think /u/skinslip1 would too!
Life is about using the whole box of crayons.
Clicky
band t-shirts are the key to my heart, but that can always get really awkward if you happen to buy the wrong size (in either direction), so make damn sure you know her shirt size.
also the Heavy Metal Fun Time Activity Book is on my wish list, but I don't think that's gender specific. but honestly, what really is?
Rapper here: yes, for many reasons.
If you're literally just beginning to start out with rap, don't worry about finding original beats just yet. Grab some of your favorite instrumentals, write to them and record them into Garageband. See how you sound, and work on what you don't like. Practice, practice, practice. It'll take years to begin to get comfortable with your own voice in hip hop, but if it's something you love, you'll find it.
edit: I also recommend reading "How to Rap", you can get a cheap copy there. It's the perfect book to explain the basics.
Here's a good place to start.
https://www.amazon.co.uk/How-Rap-Art-Science-Hip-Hop/dp/1556528167/ref=sr_1_3?ie=UTF8&qid=1540108592&sr=8-3&keywords=How+to+rap
Alternatively, if you want to get into mumble rap a rudimentary understanding of nursery rhymes should suffice.
According to The Wu Tang Manual RZA explains that people get that line wrong a lot, but that it is indeed "had second hands" as in second hand clothes.
Anyone read RZA's books? Some interesting shit in there if you want to know more about them and how it all started etc.
The Wu Tang Manual
http://www.amazon.com/Wu-Tang-Manual-RZA/dp/1594480184
The Tao of Wu
http://www.amazon.com/Tao-Wu-RZA/dp/1594488851
This book has some mindblowing stuff on Zappa. I would link to the free version but his site just shows a white screen.
Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream
http://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122
Thank you, spread the info far and wide.
I've seen Jan's stuff (gnostic media). I'm a fan. It's good work. I generally agree with most of his assertions except that T. McKenna was an agent. If he was, then his role was benign and simply to corral triphead and psychonauts into one forum.
A lot of his cia-psychedelic movement is elaborated in David McGowan's book "Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream". It's an interesting read.
Look into rock n roll and the laurel canyon community
https://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122
https://www.conspiracyschool.com/blog/laurel-canyon-sex-drugs-and-aliens
https://open.spotify.com/episode/58H5HM7fNtDbbRRbRVfyDY
Never hurts to study some basic music theory, if only to learn how to communicate with other musicians.
Jazzology is a good book if you're interested.
It's too complex for a post or even a series of posts. You're going to need a book. I'd recommend The Berklee Book of Jazz Harmony and Jazzology. I wouldn't recommend anything by Mark Levine.
https://www.amazon.com/Jazzology-Encyclopedia-Jazz-Theory-Musicians/dp/0634086782
It actually looks to be only about 10-14 dollars!
These are pretty popular and seem to fit your description. I own them both myself.
http://www.amazon.com/Jazzology-Encyclopedia-Jazz-Theory-Musicians/dp/0634086782
http://www.amazon.com/Jazz-Theory-Book-Mark-Levine/dp/1883217040/ref=pd_bxgy_b_img_z
We Jam Econo is truly awesome.
I would add:
afro punk
american hardcore
D.O.A. A Rite of Passage
Kill Your Idols
The Real Frank Zappa Book
Rotten: No Irish, No Blacks, No Dogs
No One Here Gets Out Alive
X: The Unheard Music
And, for fun:
Heavy Metal Parking Lot - I actually went to high school with some of the kids interviewed here.
Good one! More:
Helping the Retarded to Know God: a Guide for Christian Teachers of the Mentally Handicapped
Successful Ministry to the Retarded
Related:
Birth Control is Sinful in the Christian Marriages and also Robbing God of Priesthood Children!!
Dancing with Jesus: Featuring a Host of Miraculous Moves
Images You Should Not Masturbate To
http://www.amazon.ca/Dancing-Jesus-Featuring-Miraculous-Moves/dp/0762444142
Do you know how to dance? If not, I'll leave you with this: Dancing with Jesus: Featuring a Host of Miraculous Moves
You are welcome sir and madame.
Also, DSA
Frederick Noad [Solo Guitar Playing] (http://www.amazon.com/Solo-Guitar-Playing-Book-Edition/dp/0825636795) is all you need. Start with Book 1 and you'll be reading music and playing Bach before you get to Book 2.
Solo Guitar Playing
https://www.amazon.com/Solo-Guitar-Playing-Book-4th/dp/0825636795
You may find it a bit tedious, having played steel string for a while, but I have enjoyed it.
If you can get your hands on Frederick Noad's Solo Guitar Playing 1, or Christopher Parkening's Guitar Method 1, you could go a long way. If money is an issue, I know my local library has the Parkening book, so that might be a resource to check into.
http://www.amazon.com/Solo-Guitar-Playing-Volume-1/dp/0825636795/ref=pd_sim_b_1
I've been playing classical for about ten years, and I'm currently studying it at a conservatory. This is what I learned out of, and I think its a great method. There are plenty of methods out there if you don't like this one: Shearer, Duncan, Tennant, and others. If you want something older look at the methods by Sor, Giuliani, or Carcassi. There are tons more, just look around for what you like. All of these require being able to read music, if you want to really do classical guitar, you have to start reading it. Don't let that discourage you, though, classical guitar is well worth the effort.
If you're serious about fingerstyle playing, enough to spend some money, I recommend picking up Solo Guitar Playing Vol. 1 by Noad. I haven't come across a more comprehensive analysis of technique, down to hand placement and individual movement of the fingers. I picked the book up after 8 years of playing and was learning fundamental techniques described within the first few pages. It's also a great introduction into reading sheet music, not quite as fast paced as Modern Method for Guitar, the other commonly recommended book.
I second the JustinGuitar recommendations. His Practical Music Theory and Chord Construction Guide eBooks are great introductions to music theory.
50 cent's coloring book.
My mom loves to color. I'm thinking about how hilarious it would be to buy her this.
Gangsta rap coloring book ok maybe not the funniest but i laughed when i saw it lol might be a little more wtf Flintstones
In my experience, it's just a lot of playing. Do you read music? If so, that's the way to go. It's definitely going to suck at first and it'll be really slow, but it's worth it. Just find some melodies to read through.
I've been working through this book over the past school year (I'm at college for guitar) and I've noticed so much improvement in my reading and just knowing what notes I'm playing.
A Modern Method for Guitar - Volume 1 https://www.amazon.com/dp/0876390130/ref=cm_sw_r_cp_apa_kJH0AbDWK011W
It starts out low on the neck, but I think by the end it goes all the way up to the twelfth fret (I'm not all the way through it yet). A page a week is what I've been doing and I think that's a reasonable goal.
My other advice would be to learn octave shapes. This is how I check myself when I'm not sure about the note I'm playing. You probably know a lot of the notes on the fifth and sixth strings from playing barre chords. If you know what an octave looks like, you can take any note you're not sure about and move up or down and octave to a note you know so that you can check it.
Hope this helps! Learning notes will take a while but it's so satisfying once you start to get it.
Hi. I'm sight-reading at a reasonable level now on both guitar and piano after 2 years hard work. I've done it by looking at LOTS of sheet music and analysing how it works. That has mostly been following along with the textbook The Complete Musician. I've read it cover to cover nearly twice now. It IS expensive and I'm sure there are alternatives to it. I also can't really recommend it as it has a LOT of errors in its exercises and text. Either way, get a good theory textbook that goes from scales -> chords -> harmony -> counterpoint. Follow and PLAY all the exercises on keyboard.
I should add that it was a real uphill struggle starting that way, especially as it doesn't have guitar music in it!
As far as guitar focus goes, try the Berklee Guitar Method. https://www.amazon.com/Modern-Method-Guitar-1/dp/0876390130 That helped me a lot. Other than that Guiliani's 120 arpeggio studies are a good starting point.Free -> http://www.classicalguitar.org/freemusic/exercises/Giuliani120.pdf
Over all this I want to add a massive disclaimer that is sure to open a can of worms for some. I don't actually recommend using traditional sheet music for guitar at all. TAB is superior especially if you can have the sheets alongside it for the rhythm notation. The way the fingerboard works and how fingering works on guitar does NOT lend itself well to sheet music. TAB was actually invented before sheet notation in the middle east somewhere in fact!
RHCP are/were famous for this.
See: Kiedis' biography.
Anthony Kiedis explained in his autobiography that while on tour in his early 20's he had sex with a 14 year old girl. He didn't know she was 14 at first but even after he found out he continued to have sex with her. She stayed with him for several days then he finally put her on a bus and sent her back home to her parents. Her dad was a cop or something.
It's ok to be withdrawn and to dislike other people. Many others feel the same, including me. I hate other people but can cope being near and around them. Empathy isn't something that's natural. It's a learned skill that takes time to build. If it were natural we wouldn't have wars or even violence. If you truly want to change it starts with opening up your mind.
My recommendation is to start with reading a couple biographies to learn what it means to think like another person. Since you're into music I suggest Scar Tissue. From there work backwards and find people with the most clashing ideals and read their biographies. Learning how someone you don't agree with thinks is easier with a guide and a biography is exactly that.
Bun B's rap coloring book
If ever there is tomorrow when we're not together... there is something you must always remember. you are braver than you believe, stronger than you seem, and smarter than you think. But the most important thing is, even if we're apart... I'll always be with you. -Whinny the Pooh
My favorite. item.
I actually have a heavy metal colouring/activity book. They do exist!
http://www.amazon.ca/Heavy-Metal-Time-Activity-Book/dp/155022798X
Today is a badass day because ninjas, ninjas everywhere. I was awoken suddenly by a super sweet guitar solo with a hint of bass. I rolled out of my super comfy bed and ended up in the floor, ...cause gravity. I ate rocks for breakfast with a battle axe in my left hand and a pot on my head, cause helms are hard to come by. On my way to work, I ran into a rude ass wizard. He said to me, "Someone has to deal with all these runaway ninjas. Put that axe to good use". I *swarthily replied, "Silly wizard, you cant use a one armed short axe against ninjas, its not hit capped to counter act their +210 agility. Noob.", and we then decided to get drunk and buy lapdances with a dwarf we picked up at a gas station. I really wished we had done something about those ninjas and all their shadowy shenanigans with a radical vengeance instead. Something hit me on the back of my head. It was a boot. Can you believe that? I reached into my back pocket and pulled out a phone to instgram it. Because really, who throws a shoe? It really belonged to the dwarf. He gave it to me in exchange for my battleaxe.
One day I will get around to those pesky ninjas with extreme prejudice. It will be a battle of legendary ...legend and a little bit of romance. I hope tomorrow is filled with strippers and booze** just like today.
Do I have to pick only one thing? Because there's quite a few, aha.
The best advice I can give you is to check out "How to Rap: The Art and Science of the Hip-Hop MC". I've been a fan for about 15 years and even then this book provided valuable insight into some of the intricacies of the genre, as explained by the pioneers and torchbearers themselves.
http://www.amazon.com/How-Rap-Art-Science-Hip-Hop/dp/1556528167
hey man
first thing is, practice. Start small and build up. use single syllable rhymes and try to get a feel for what a "bar is". then from there get more complex.
 
Start with a simple flow and rhyme scheme
 
just walked in the crib 1
look at my Asian chick 2
she hella thick, do a split, 3
she don't take no shit" 4
 
this is a simple rhyme scheme with all single syllable rhymes. You will notice. the rhyme does not always end on the end of the line. If we were to continue this. my rule is to change the flow every four bars but I tend to change it up a lot more than other people. My first indication would be to change the flow right after
 
I ain't seen her in a min-ute 1
I miss her...this love 2
really ain't a gimmick 3
..I fall to pieces when i'm in-it* 4
 
This is an example where the rhyme scheme becomes more complex and the rhymes can increase to more than one syllable.
There are plenty of resources online about how to rap. there's even a book! [How to Rap!] (https://www.amazon.com/How-Rap-Art-Science-Hip-Hop/dp/1556528167/ref=sr_1_1?ie=UTF8&qid=1480085264&sr=8-1&keywords=how+to+rap)
Best of luck to you little homie. holler if you got any questions
https://www.amazon.com/How-Rap-Art-Science-Hip-Hop/dp/1556528167/ref=sr_1_1?ie=UTF8&qid=1527022188&sr=8-1&keywords=how+to+rap
it shows the intricacies of the song writing for individual artists and the subtle details that make or break a song.
Read this or anything else you can get your hands on that explains the creative process some professional rappers use to write lyrics. It would probably be especially helpful for you to find interviews of your favorite artists where they discuss their inspirations.
Also, you don't have to write with a beat in mind or while listening to an instrumental. The lyrics can come first and then you'll find or make a beat that fits them.
Lastly, don't let your dreams be dreams. Stay focused and work hard for what you want and don't let anyone discourage you with their negativity. At the same time, don't let compliments get to your head and tell you you're the greatest and then get complacent with your work. Always be your own worst critic.
Lastly lastly... Enjoy yourself! If you're not enjoying it, it'll show in your lyrics and delivery and then nobody else will enjoy it either
WUUUUUUUUU!
If you haven't already, you should definitely read RZA's book: http://www.amazon.ca/The-Wu-Tang-Manual-RZA/dp/1594480184
This one is probably the most eye opening book available.
Holy cow, if you don't know Dave McGowan's "Weird Scenes Inside the Canyon," you are in for a TRIP. A must-read.
https://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122
McGowan originally was writing this as an ongoing web series, about half the book is there, including some material that didn't make it into the book (including a particularly interested segment about Jack Nicholson). Original version had very helpful pictures, most of which are gone now. It's well worth reading, too, though not as good as the book.
https://www.sott.net/article/155794-Inside-The-LC-The-Strange-but-Mostly-True-Story-of-Laurel-Canyon-and-the-Birth-of-the-Hippie-Generation-Part-1
Weird scenes inside Laurel Canyon
Laurel Canyon, in Los Angeles. This is the book:
https://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122/ref=sr_1_1?ie=UTF8&qid=1527092729&sr=8-1&keywords=Dave+McGowan+Laurel+Canyon
If you're interested in Marilyn Manson, check out his autobiography. It's decently written, and is a pretty cool insight into the man.
Apparently you want a textbook, but know that music theory and composition demand tons and tons of practice. My suggestion is to get yourself educated with legit basic theory resources (note that Jazz is sufficiently complex and different from everything else that it's a very bad way to start).
Lectures - here (someone else in this thread has posted this).
You will need both auditory and written practice. Musictheory.net is great for "ear training." You should also have a physical instrument. If you're willing to blow cash on a textbook, Stefan Kostka's Tonal Harmony (older editions are less than half the price listed there) is a common university choice that starts from nothing and goes far. It's important to also complete the exercises in the workbook, and get a music notebook for practicing your chops. As soon as you know how to write music, you can make up your own melodies, and you can garnish and revise them as your knowledge grows). If you're poor, I see little harm in breaking copyright law and obtaining a free electronic copy of the text - but it is still in your interest to obtain the workbook.
One might consider using iTuna ($3, a note recognizer app for mobile devices) and eventually Sibelius ($100+, a score-writing program) but it is important that you train your brain to audibly recognize objects, and premature use of computer resources can make you dependent.
Music exists to be made and that's all there is to it.
You missed 2-8 years of constant exposure, performance opportunities and lots of cool classes, but if music is something you love just do it as much as you can. Ear training, sight singing, transcription, these are very important tools but it takes the repeated application of them to make you "better." I have a BM, it was 4.5 years of immersion. I can tell you that most of the things I "learned" I could point out to you in a few minutes each. Lots of little tricks and tips, neat combinations and things like that. Figuring out how to really apply them is what's so difficult.
If you want a good introduction to harmony and tonality, Tonal Harmony is very thorough.
Make what you want. Fuck everybody who says you can't.
Edit: phrasing
Learning theory does involve a lot memorization, but it's more about learning musical function. And yeah, it can be, as you put it, agonizingly slow if you're still at a beginner level. Much of theory practice involves reading and interpreting notes and chords, which is much easier when you can read notes and chords very quickly and have an instrument you are proficient in to work things out on. But if you're seriously interested, it can be learned by anyone and it will enrich your piano experience.
Be sure you're not just learning random factoids one at a time. Context is very important for putting together musical theory. Use a theory book (here's the book I learned from in college for reference) and take things one chapter at a time. You can use your flash card study method to help memorize important concepts from there.
This guy is a college music theory teacher and he's uploaded like 50 videos of his classroom lectures and he's excellent at explaining things. Every lecture is very clear, concise and too the point. https://www.youtube.com/watch?v=ICDPWP6HUbk&list=PLw9t0oA3fHkxx1PgYpiXrMUPXaOiwh6KU&index=1
​
I think his lessons are based around readings from this book, which is a little confusing to some people, but is a very standard college level music theory texbook https://www.amazon.com/Tonal-Harmony-Stefan-Kostka/dp/0078025141/ref=sr_1_3?ie=UTF8&qid=1550514584&sr=8-3&keywords=tonal+harmony
You can buy the books for every individual grade online. Either in PDF form or an actual copy. Most grades are a series of scales or arpeggios to play and an assortment of pieces suited to the difficulty. Most if not all can be found here http://shop.abrsm.org Schirmers Library also has books of exercises (which can be found free). If you’re interested in theory this is a pretty standard college text book on the subject Tonal Harmony
I wouldn't recommend self-studying this. A lot of the test is based on skills that you pretty much need from music as u/ChubbyMonkeyX said. Honestly, it is an extremely hard exam if you don't have a solid background in music. But it probably possible. If you need a textbook for self-study, I recommend this. If you need a review book, I recommend Barron's AP Music Theory Review book.
How did I get into it? I started as a DJ. Next logical step I suppose.
Advice/tips?
Read up. Here are some of my favorites, and I do recommend buying them as you will probably refer to them often.
This would be my top pick: http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0240521072
This is one on psychoacoustics, which I've found had some helpful knowledge: http://www.amazon.com/How-Music-Works-David-Byrne/dp/1938073533
And this is one on the history of electronic music, which I personally LOVED reading. Great information, and if you truly respect the scene as a whole, you should 100% read this: http://www.amazon.com/Last-Night-DJ-Saved-Life/dp/0802146104/ref=sr_1_1?s=books&ie=UTF8&qid=1419810859&sr=1-1&keywords=last+night+a+dj+saved+my+life
As far as software goes, they are all kind of a personal thing. Some offer things that others don't. My recommendation is to try before you buy, especially considering production software is expensive.
In addition, there is also a large choice of hardware you can use for production. You should look into getting a keyboard and some good monitor speakers at a bare minimum. If you stick with it, I would suggest you buy yourself a drum machine/step sequencer. My personal recommendation is Native Instruments 'Maschine.'
EDIT: A word.
Okay, in that case you should check out /r/Beatmatch and /r/edmproduction. I'd also recommend you look into this book, which covers everything you'll need to get started producing and then some.
Wait_What_Happened is right about electronic music being difficult to get into, since there are just so many different skills that you have to master, like how to program synths, EQ your sound, and compose music in the style you wish to produce. It's going to be incredibly frustrating at first, but the only way to get better is to keep practicing.
I also want to be a DJ/Producer. My biggest goal in life would be to play at a festival like Ultra.
I suggest you start by learning as much as you can about your DAW, head over to /r/edmproduction if you haven't, watch many tutorials in Youtube (you'll learn a lot with just practice), and read this.
This book is just awesome to learn all that stuff!
Search for it in this subreddit, you'll find a copy of it if you can't afford to buy it
DO NOT GIVE UP
if you enjoy the process of doing music, and like what you are doing, continue with it. i think you should read some technical resources, to get a better understanding on how things work and how they related with each other.
I highly recoment [this book] (http://www.amazon.com/Theory-Computer-Musicians-Michael-Hewitt/dp/1598635034), and [this] (http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0240521072). You can find booth on torrent, but buy if you can. they tottally worth the price.
one thing i read from a skrillex interview: "everyone starts making shit music. continue making bad music until they start to sound good"
This! I got the Dance Music Production one and it's fantastic
[Amazon] (http://www.amazon.co.uk/Dance-Music-Manual-Tools-Techniques/dp/0240521072/ref=sr_1_1?s=books&ie=UTF8&qid=1376289177&sr=1-1&keywords=dance+music+production)
If she doesn't have it already, I highly recommend Samuel Adler's "Study of Orchestration" book - http://www.amazon.com/Study-Orchestration-Third-Samuel-Adler/dp/039397572X/ref=sr_1_2?ie=UTF8&qid=1323789264&sr=8-2 If she's going to school for music composition, she'll more than likely need this any way. Might be good to get her a head start!
In no particular order, here are some things that come to mind:
Modes of Rhythm
Anthony Wellington teaches slap bass and rhythm using the "Modes of Rhythm" https://www.youtube.com/watch?v=asYfvMzjk7M
This is an interesting approach to working with rhythm.
Arranging for Large Jazz Ensemble by Dick Lowell
https://www.amazon.com/Arranging-Large-Jazz-Ensemble-Pullig/dp/0634036564/ref=sr_1_4?keywords=dick+lowell&qid=1554352576&s=gateway&sr=8-4
Good resource for jazz arranging
The Study of Orchestration by Samuel Adler
https://www.amazon.com/Study-Orchestration-Third-Samuel-Adler/dp/039397572X/ref=sr_1_2?crid=270ZIQBMLZL3O&keywords=study+of+orchestration&qid=1554354116&s=gateway&sprefix=study+of+orc%2Caps%2C203&sr=8-2
I have the 3rd edition. Get it used rather than new. This is a popular choice when studying instrumentation and orchestration for orchestral/chamber music.
Other good orchestration online resources:
http://resources.music.indiana.edu/isfee/
https://www.vsl.co.at/en/Academy/Instrumentology/
The Secrets of Dance Music Production
https://www.amazon.com/Secrets-Dance-Music-Production/dp/0956446035/ref=sr_1_1?keywords=attack+magazine&qid=1554356008&s=gateway&sr=8-1
I haven't checked this one out completely, but it's an interesting resource for electronic music with great visual analysis
And if you're looking for things to improve your composing skills, definitely study counterpoint. Start with Species counterpoint then move to other styles/eras. Learning this completely changed my perspective of theory and why we learn it.
Hope that helps.
The Dance Music Manual is a great resource for this type of analysis of other genres:
http://www.dancemusicproduction.com/index.php/dance-music-manual-3rd-edition
http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644
I don't think the book contains anything specific to progressive house. There's a DVD for it though. I have not watched it but I would trust it based on their other stuff:
http://www.dancemusicproduction.com/index.php/tutorials/genre-tutorials/progressive-house
The advice to just experiment isn't wrong but it also doesn't seem to acknowledge that you have to start by imitating something, and it helps to know what you're imitating. I think this is a good question.
https://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=sr_1_1?ie=UTF8&qid=1467226987&sr=8-1&keywords=rick+snoman
I recommend looking into some books on production. There is so much more information crammed into the better books than you will find in a week's of searching forums and youtube tutorials. For books on mixing, I say you can't go wrong with Bobby Owinski's The Mixing Engineer's Handbook or Mike Senior's Mixing Secrets for the Small Studioand for general production I recommend Rick Snoman's Dance Music Manual just be sure to get the latest edition, it includes chapters that cover everything from basic theory the popular genres (trance, dubstep, DnB, Techno, House, and Ambient/Chillout), it covers the electronics and science of acoustics, MIDI, DAW's and everything that come's along with them (instruments, effects, samplers, etc) and promoting and distributing your music. I can't say enough about this book and what a great way it was for me to see the "big picture" of what was ahead of me when I was starting out.
give the dance music manual a read. it will teach you the fundamentals of what everything does regardless of what program you are using.
if you want to learn how to use ableton or FL studio, look up tutorials or read the manuals for the programs.
Not a video, but this book was extremely helpful for me:
http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=sr_1_1?ie=UTF8&qid=1412538316&sr=8-1&keywords=dance+music+manual
It costs 30$ as a paperback but it teaches you about Music theory basics, synth, fx, master, mixing basics and also gives you an overview of almost all current EDM genres.
I hear beattips is good.
https://www.amazon.com/BeatTips-Manual-Beatmaking-Tradition-Composer/dp/0989398609
this was a big help when I started
https://www.amazon.com/Theory-Computer-Musicians-Michael-Hewitt/dp/1598635034/ref=sr_1_1?s=books&ie=UTF8&qid=1500536883&sr=1-1&keywords=music+theory+computer+musicians
and way beyond just music theory and beatmaking, but very informative
https://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1500536944&sr=1-1-spell&keywords=dancemusic+manual
I like to scan reviews by SOS, gearslutz, Keyboard mag and some of the EDM oriented site s like createdigitalmusic.com, attackmagazine.com to get clues about synth features: http://www.soundonsound.com/sos/may02/articles/rolandsh32.asp (they say the manual's not the greatest)
Also, from the sidebars of /r/synthesizers, /r/edmProduction etc:
http://www.amazon.com/Refining-Sound-Practical-Synthesis-Synthesizers/dp/0199922969
and http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/
http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=sr_1_1?ie=UTF8&qid=1448940494&sr=8-1&keywords=dance+music+manual
Here's the book I started going through when I was trying to learn electronic music. I didn't make it very far (I was only learning electronic because I didn't have a guitar... then I got a guitar again), but from what I did get through it was a nice introduction to music theory, compressors and EQs, etc.
I was scared of music theory before I started going through that book because it seemed scary, but the book made it pretty easy to pick up!
Read the ableton manual, seriously. Even though you know nothing right now, it will at least let you know the scope of the software. Read this book http://www.amazon.com/gp/aw/d/0415825644/ref=redir_mdp_mobile/190-8299723-7853348# I got a minor in music in college with an audio tech concentration, I've had hours of classes. This is the best beginner book I've ever read. It's not just for beginners, it's so all inclusive I can't believe how short it actually is. I would bet anything that it will answer every question you could possibly think of.
Yeah, the particular album with Oscar Peterson isn't the best for study - as you won't be able to listen to what an experienced jazz drummer would do in those situations - but it is a great practice tool since drumless jazz recordings are so rare. In particular I love "Pennies from Heaven", it's a great mid-tempo swing to jam along with. And if you can work up to up-tempo swing, "I want to be Happy" is a serious workout. 7 minutes of 250 bpm spang-a-lang to really build those chops.
Oh, and if you haven't yet, invest in a copy of the real book and encourage your friends to as well. You can flip to almost any random page and have a great jam sesh. And with a little rehearsal you can gig those tunes as well. Not the most avant-garde stuff, but you've got to start somewhere :) Now go give that ride a good spank for me. Happy jazzing!
I think this is what's meant:
https://www.amazon.com/Real-Book-Fake-Books-Leonard/dp/0634060384
It's a book full of literally hundreds of 'standards' and songs for around ~20 dollars. I am also starting to learn some jazz, and it's one of the most helpful things I've found. What I like to do is find versions of the songs on YouTube, and listen to how the bass player fits in their line with the other parts, and try to play along -- even if it's just the root notes from the chord diagrams!
The history of the book is fascinating, too - Adam Neely has an interesting vid on YouTube.
Have fun!
http://www.amazon.com/Real-Book-Hal-Leonard-Corporation/dp/0634060384
You say you play an instrument so I'll work under the assumption you have a basic understanding of chords/chord professions.
There are many different types of "jazz" music and ensembles- big band, Dixieland, Latin fusion, etc. but based on your question I'm guessing you're asking more about small combo-improv-heavy Jazz.
The basic idea is that you have a chord progression and typically a melody is played once or twice, then followed by improv solos. These solos work within and around that same chord progression.
A good way to get started is to pick a song you like, find the chord progression, and start practicing the notes on repeat. Don't try to play in tempo, just go through each chord and play the scale. Then start over and do the same thing but do scale in thirds instead. Then do arpeggios. Then start to embellish a little. Another great learning technique is to listen to pros solo on a song you like, then try to mimic their licks.
If you're looking for a good place to find chord progressions for pretty much every jazz standard, get yourself a [Real Book](The Real Book: Sixth Edition https://www.amazon.com/dp/0634060384/ref=cm_sw_r_cp_api_sI1oxbFVNBDBW)
Fair warning: improv has a VERY long learning curve. You'll probably suck at first. That's okay.
Get your hands on some improvisation books. Doesn't necessarily mean they all have to be just guitar books...jazz theory books will come in handy for any musician. Get your hands on a Real Book Listen to great performers - I'll suggest Pat Metheny, John Scofield, and Herb Ellis for starters. Become really familiar with their music and the way they improvise... when you hear little bits and pieces of things they do and you like them, write them out - transcribe. Hearing and practicing these will enable you to incorporate them into your improvisation, and the more you study and 'shed your heart out, the more you will pick up on how great improvisors do their thing.
Also, practice all your scales... slowly. When you are transcribing, you'll be surprised how much easier it is when you have a good understanding of every type of scale and how they are used (theory books will explain).
Hope this helps. Cheers.
Get a Real Book. There isn't anything in the way of explanation or instruction, but you'll learn many tunes and you'll begin to see common progressions (e.g., ii-V-I) and modulations (e.g., between relative minor and major) quickly. Also, you'll expand your chord vocabulary substantially if you master the many alterations and interesting extended chords that show up in there. Substitutions are a little harder to see w/o direction, I think, and sometimes aren't included in the charts.
Yes, they've got both the lead line (melody) and the chords above them. They're really the industry standard for jazz — you'll see them on any music stand for a gigging combo. 6th Edition is probably the best place for you to start. (A given song might look like this.)
https://www.amazon.com/Real-Book-Hal-Leonard-Corporation/dp/0634060384/ref=sr_1_1?ie=UTF8&qid=1495028237&sr=8-1&keywords=hal+leonard+real+book
Get a Real Book and find progressions in there. Use them directly or let it inspire you to create lines of your own. You can also find a lot of jazz lead sheets online.
http://www.amazon.com/The-Real-Book-Sixth-Edition/dp/0634060384/ref=sr_1_1?ie=UTF8&qid=1413845380&sr=8-1&keywords=the+real+jazz+book
melody and chords of jazz standards
If not that, you can order it from Amazon.
http://www.amazon.com/Real-Book-Hal-Leonard-Corporation/dp/0634060384/
Get a copy of the Real Book and look up what the songs should sound like on youtube, then play them. http://www.amazon.com/Real-Book-Hal-Leonard-Corporation/dp/0634060384
Several years ago, I was in your same position. I finished my classical training and wanted to learn to play exactly this same kind of music I had been hearing in my head for years. Sadly enough, it's not as easy as it sounds...
You already have a basic understanding of music. This is really the basics. When you are going to play jazz, you need to know a lot more: chords, scales, chord progressions, chord substitutions, fillers, rhythm (and playing out of rhythm while having an inner rhythm), ear training, ...
You can't learn that from sheet music or even books about jazz. Find a teacher! He will most likely talk about The Real Book that is filled with this kind of music. You will first learn to play exactly what's on the sheet, but then the important stuff starts, knowing how to change the sheet so that it becomes your own jazz piece with improvisation and things like that. It will take years to get there, believe me. But it's absolutely worth it.
Good luck with it! Don't waste your time (cos that's what you will do) and find a teacher!
Get The Real Book and work on the easy-to-read stuff.
Most tunes don't stick to a single key, but many do feature an A section in a single key at least. So you could work on reading in the easier keys of C, G and F major at first, and just sticking to the parts you can read. A byproduct of this will be your increasing awareness of where the white keys are on your fretboard, which is a phenomenal skill to develop.
As you grow increasingly comfortable reading, you can add keys with up to 4 sharps and flats (D, Bb, A, Eb, E, Ab). Many of the tunes in the Real Book are in F, Bb, Eb and Ab (and their respective relative minors) so you'll have a ton of options here =)
the non ligit part is you are not spending £30 on a book of music http://www.amazon.com/The-Ultimate-Fake-Book-Instruments/dp/0793529395
the "fake books" came around after the "real book"
http://www.amazon.com/Real-Book-Hal-Leonard-Corporation/dp/0634060384/ref=sr_1_1?s=books&ie=UTF8&qid=1348419797&sr=1-1&keywords=realbook
I live on the pacific coast so I can’t help with the teacher part but I have just started jazz piano about a six months ago after playing piano for a year, I feel that you should first familiarize yourself with piano in any way you can before moving into jazz and paying for lessons, once you’re experienced you should buy the sixth edition of the real book and learn how to read jazz standards. These are songs that are in the book (400+ songs) are classics that pretty much all experienced jazz musicians can pick up on and can play along to. It’ll only have the melody on the chords to go along with it, you should learn the melody and play it the way you feel is best and play around with it and then harmonize it with the chords. Once you get familiar with this you should try your best to solo over it along with the chords, you might sound like ass but you’ll have to practice to get an ear for soloing, eventually you’ll get better and pick up and learn techniques. One of my favorite jazz pianist YouTubers made a great video that gives a list of some of the easier jazz standards that are mostly in the real book, they are great for gaining a foundation in jazz. It’s important that you know how to play all types of chords to best play jazz standards, if you’re interested message me and I’ll send you directions for a good exercise for this. Lastly when learning jazz standards it’s best to listen to the song and the chord changes a lot first to get a feel for the song, learning the vocals also helps with expression. Once you get a foothold for all of these basics then you should look for a teacher, I suggest taking a few months before that.
It's kinda the default answer and it doesn't have a backing track, but The Real Book.
If you're trying to explore jazz and improve your music reading, there really isn't any other way. A lot of jazz bass books just have the bass line which could be as simple (and boring) as a transcribed walking bass; with the real book you get the melodies and the chords which is what jazz is all about. Plus if you meet some other jazz guys there's probably a handful of tunes you can play with them (and they might have their own real book too).
I just got Mikes Downes' Jazz bassline book and it's amazing! It has tons of transcriptions and lots of very clearly laid out ideas to learn from. http://www.amazon.com/The-Jazz-Bass-Line-Book/dp/395481000X
Also I'd suggest listening to a lot of jazz and playing along with tunes you like. If you want a book of jazz standards I'd suggest something like The Bass Clef Real Book which has hundreds of lead sheets to lots of often played tunes.
http://www.amazon.com/Real-Book-Bass-Clef-Sixth/dp/0634060767/ref=sr_1_1?s=books&ie=UTF8&qid=1453667062&sr=1-1&keywords=bass+clef+real+book
I also agree with this! They have 4 volumes (Realbooks) for bass clef. I’ve done gigs with these with a guitar friend, lots of fun!
Here’s the first one with a lot of popular standards:
https://www.amazon.com/Real-Book-Bass-Clef-Sixth/dp/0634060767
You should read his biography! It's a most interesting book which I highly recomend if you'd like to read about his youth.
The book at Amazon: http://www.amazon.com/The-Long-Hard-Road-Hell/dp/0060987464
You should read his book, its really good.
Read his book: http://www.amazon.com/Long-Hard-Road-Out-Hell/dp/0060987464/ref=sr_1_1?s=books&ie=UTF8&qid=1342806655&sr=1-1&keywords=marilyn+manson
https://www.amazon.com/gp/aw/d/0060987464/ref=mp_s_a_1_1?qid=1453577620&sr=8-1&pi=SY200_QL40&keywords=long+hard+road+out+of+hell&dpPl=1&dpID=51W6Z5ndjBL&ref=plSrch
There ya go! I forgot about Poe. I got a three book collection as a graduation present that was the complete works of poe, one was the complete works of Kate Chopin, and the third was Herman Melville. Poe was always the best. The cask of amontillado was my favorite because how terrifying is being walled up and left to die?! Annabelle Lee is always nice, as well.
There is no one size fits all bible of music theory. To be extremely well rounded you need to look at a few different books:
For just starting out in the sense that you don't know how to build chords or intervals, Carl Fischer's grimoire books are excellent.
For classical harmony this is the book I used in my classes:
http://www.amazon.com/Tonal-Harmony-Introduction-Twentieth-Century/dp/0073401358/ref=sr_1_2?ie=UTF8&qid=1465247193&sr=8-2&keywords=tonal+harmony
For jazz harmony:
http://www.amazon.com/Jazz-Theory-Book-Mark-Levine/dp/1883217040/ref=sr_1_1?ie=UTF8&qid=1465247235&sr=8-1&keywords=jazz+theory
For deeper classical/counterpoint:
http://www.amazon.com/Counterpoint-4th-Kent-Kennan/dp/013080746X/ref=sr_1_3?ie=UTF8&qid=1465247274&sr=8-3&keywords=counterpoint
Also, try to get lessons with a university teacher because none of these books are comprehensive or perfect.
I remember in one of my beginning classes we went over the omnibus, and the deepest the book went was "this is an omnibus".
It wouldn't be until college where a professor ACTUALLY explained to me what the omnibus is and how to make one.
Also, the mark levine book can probably be condensed into 20 pages of meaningful material. He uses a lot of filler/examples...
http://www.amazon.com/Tonal-Harmony-Stefan-Kostka/dp/0073401358/ref=sr_1_2?s=books&ie=UTF8&qid=1332857444&sr=1-2
Time to move off the websites and into some books. This is a good overall intermediate/pre-advanced textbook
Alright. Well, whenever you're ready, just PM me, and I'll get you my cell number and Skype info. This theory text has made the most sense to me — http://www.amazon.com/Tonal-Harmony-Introduction-Twentieth-Century/dp/0073401358/ref=sr_1_2?ie=UTF8&qid=1450929787&sr=8-2&keywords=tonal+harmony. It'll get you through all of the basics and some of the advanced stuff as well!
As far as jumping into playing stuff like CHON, depending on your technical ability, it's not that big of a leap. But understanding what's happening theoretically is the tricky part. Most people don't understand what's happening in the music that they play. What many of those people don't realize is that having a sound understanding of the theory can help articulate the music that they make more efficiently.
Do you understand how to construct chords and determine the quality of chords? If not, I would recommend checking out /r/musictheory for now. The sidebar has some great resources for a basic understanding of chords / harmony. I would check that out; play through the major scale w/ triad chords and identify the chord qualities (Major, minor, diminished etc); then, do the same thing and identify all of the seventh chords and their qualities. That'll get you off to a good start!
How Music Works by John Powell. It is a good breakdown of many elements of music and how we hear sounds and read notation. Other than the, look on Amazon for a used music theory textbook and go from there.
I used this on in college classes.
Another decent theory book.
If you are planning on teaching yourself (which it sounds like you are) I would highly recommend working through the Elementary Music Rudiments series. I would recommend the all incluisive one as it is more economical and allows you to advance to where you need to be. http://www.frederickharrismusic.com/FHMCsite/capricorn?para=showPage&docId=catShowProd&section=**&prodCode=TSCR&fromCatCode=CATHEORY3&actionType=show&treePath=Theory >&categoryDesc=Theory Publications by Mark Sarnecki&fromTree=Y&pageNum=&level=2&code=CATHEORY3
This book can also be found on amazon and at many local music stores.
If you're not on a super tight budget another great theory resource is Tonal Harmony by Stefan Kostka
http://www.amazon.ca/Tonal-Harmony-Stefan-Kostka/dp/0073401358/ref=sr_1_1?s=books&ie=UTF8&qid=1376420694&sr=1-1&keywords=Tonal+Harmony
This was my university text book for my first two years of theory classes. It explains everything from basic rudiments (it covers it slightly) and goes through the harmony methods used into the 21st century.
If you are serious about writing music and learning about the different compositional methods I would recommend going through and doing the exercises in each of these books as they will allow you to devlop a much better understanding and you may find it allows you more creative room.
The benefit of a book is that you don't get lost in duscissions and work sheets that are way over your head as you do online (I know I got into this situation a few times).
It is very important to be very confident in your rudiments before moving on to more complex harmony study so my recommendation would be to first go through Elementary Rudiments and then move on to Tonal Harmony. That's my two-cents, hope it helps!
huh.. http://www.amazon.com/gp/product/0073401358
goodreads gives it a 3.9/4
classical.net which is the first review to show up on google, gives a glowing review
amazon buyers gave it 4.3/5
booksaboutmusic has nothing but positive things to say
I'm struggling to find all these negative reviews you are speaking of. Other then the typical bad apples on the various sites, I was unable to find a large amount of people saying bad things about the text. I do not mean to say they don't exist, but rather that it's not as widespread as you would like me to believe. I think this more a case of me upsetting the hive-mind here on reddit then this book actually being widely disliked by music scholars.
Knowing theory won't really help you create better songs. It will help you understand what's going on in a song and can help you solve many compositional problems for arrangements. But that's not the same thing.
I'm not trying to dissuade you, I'm a theory geek myself. But I do want to convey what theory will and won't do for you. Having a good ear for melody and a sense of song structure is far more important for making a great song than theory is.
If you want some great theory books, I can heartily recommend the text Tonal Harmony, by Kostka and Payne as well as Harmony and Voice Leading, by Aldwell, Schacter and Cadwallader
While pricey because of their academic audience, these texts avoid much of the confusion rigorous texts demonstrate, particularly with regard to the importance of modes to understanding the relationship between melody and harmony.
For really expanding your understanding of harmony on the guitar, and if you like Jazz, Johnny Smith's "Mel Bay's Complete Johnny Smith Approach to Guitar" is an amazing book, but requires a lot of hard work on the part of the student (not least of which due to Smith's insistance of writing the music in actual pitch using bass and treble cleffs.
http://www.amazon.com/Tonal-Harmony-Stefan-Kostka/dp/0078025141?ie=UTF8&*Version*=1&*entries*=0
A book refering mostly to classical music (probably exclusivly) but its an immense source of knowledge of music theory and practice in general. It's written for academic purposes but is easily read by laymen :)
if you want a book that covers classical theory and harmony this probably the best.
Phillip Tagg's 'Everyday Tonality' is also good but a bit more advanced :)
I went to berklee and this was our textbook:
https://www.amazon.com/Tonal-Harmony-B-Music/dp/0078025141
Also ear training helps, it is pretty hard though, you have to practice alot. Im sure you can find some youtube vids to help.
Hey, similar situation here and this is what I recommend
The Everything Music Theory Book has lined up pretty much exactly with my high school music theory class, but I haven't finished yet. It seems to be a great baseline to make sure you know what you need to: it has the same tricks everybody uses, workbook questions/answers, and you could look back in it anytime you need to remember something. (I have the second edition, not sure if it's superior)
Although I don't own it, my teacher has taken a lot from it: Tonal Harmony, apparently any music theory class you'll take in college will use this book, and my director says there's no need for the newest edition.
These two books should be enough of an entrance to music theory, without boring you. Supposedly there's plenty of resources online; I especially love the youtube community around it.
Hey, hope I can help! Music composition and theory background -
 
It is great that you can come up with melodies - that is one of the hardest battles. To be quite honest with you, there is proper ways of doing voice leading in tonal (and atonal) harmony, but really no one cares if it is "proper" anymore outside of some collegiate settings. Basically, if it sounds good to you, chances are it will sound good to others (tonally speaking - atonality is not liked so much here in the west).
 
The textbook I used in school was called "Tonal Harmony". It was a good textbook, but I didn't think it was worth it outside of learning the basics. What has really helped me as a composer has been learning to play and improvise on the piano. Even musicians like myself with little piano training should be able to go up to a piano and "bang" out notes and add simple left hand chords to them. Piano music (and choral scores) are all about voice leading - it is what makes the instrument (and voices) sound good.
 
Next time you have a chance, play a melody on the piano. Try and identity what chord sections of your melody use and try that. Keep in mind that just because your melody has "C E G" in it does not necessary mean you have to use a C major chord. Try an A Major (there will be dissonance with the c/c#), an A minor 7 (A C E G), etc. Let me know if you have any questions. =)
I super recommend reading Tonal Harmony! (I'm sure you can get a better price though, amazon is notorious for overpriced textbooks). It explains things really well in an easy to understand way, and it still goes deep into harmonically challenging and interesting waters.
Beautiful violin!
I don't know how well-received this book is, but it's what my university uses for it's music major Theory courses. I've enjoyed it so far. I also really enjoyed this book when I used it in high school. The Suzuki volumes are a decent place to start repertoire-wise - especially if your teacher doesn't use the Suzuki method. Depending on whether you're interested in pop/classical/etc. different books can be recommended as well.
This isn't specifically guitar, but this is a great book - a little on the expensive side though: https://www.amazon.com/Tonal-Harmony-Stefan-Kostka/dp/0078025141
Have you looked at doing some cheap courses on Udemy? There would be some good information on there! I've been thinking about making a course on there myself
Tonal Harmony is the standard for music students
http://www.amazon.com/gp/product/0078025141/ref=pd_lpo_sbs_dp_ss_1?pf_rd_p=1944687782&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=0073327131&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=0PNRPDC4XH3KGDR045MK
Some of the examples given in the book are meh, but it will definitely cover pretty much everything you need to know
I just started reading Dance Music Manual, Second Edition: Tools. toys and techniques I like it this far and he mentions in the beginning that most genres will be covered.
No problem, it's actually really common for people to ditch the distinction since in electronic music so many producers also dj and they may even have "Dj" in their name.
For production, I think the best place to start is with tutorials on youtube and a DAW (Digital Audio workstation) which is just a software client for making music. Also, if you are near a bookstore, try going there and reading this http://www.amazon.com/Dance-Music-Manual-Second-techniques/dp/0240521072/ref=sr_1_3?ie=UTF8&qid=1310497354&sr=8-3. It is a great guide, and very thorough, but it's a bit pricey so I recommend reading it at a bookstore before you consider buying it. A lot of production is just finding your own way and style, but it is hard to overestimate the value of a good resource when you are starting out.
Also, try some good subreddits. There is /r/synthesizers, /r/edmproduction, and /r/Wearethemusicmakers. All of them are really receptive to questions, I find. Starting out you will probably have lots of questions, so don't be afraid to ask.
This is a solid book with a bit of theory and production.
You might be interested in this book: http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0240521072
Really thorough and explains everything you need to know in order to get a solid grounding in producing dance music.
The same guys also have a series of video tutorials that you might find useful: http://www.dancemusicproduction.com/index.php/tutorials#fundamentals
I've been playing around with electronic music for years, but only started taking it really seriously the past year. I've read a lot of books, and honestly, NOTHING has been more helpful to me than The dance music manual.
FL Studio is a great start in my opinion. If you've already put 10 hours in, and are making some cool sounds that you feel good about, you've already overcome one of the largest obstacles!
One way to take it to the next level is to try to re-create a song you like, or part of it, in FL Studio. Take for example this section of your first link. You could roughly recreate that in FL Studio without too much pain. Just don't give up until you get the sound you're looking for. Maybe start with the drum parts, figure out the 1,2,3,4's of it, and try to put that into a loop in FL. Then bust out the synthesizer for the saws on top of the drums. You said you don't have much synth experience, so layering some saws over your drums and tweaking things until it sounds correct would be a great exercise.
For MIDI gear, a small keyboard would be great for experimenting and learning. Maybe get one with some pads and knobs that you can map to your sweet FL saws that you were layering? I'd say skip the drum machine for now, you can do all of that sequencing in FL and 1000x better IMO. However drum pads are nice, where you can bang out patterns and fills using your hands. You could try something like the MPK25 USB controller which has keys, pads, and knobs all in one.
The main thing is to really sit down and learn. You've already got good software and the passion, that's all you need. A small midi keyboard or controller might help you get started, but don't get lost in different devices, plugins, etc. as they will just slow down your learning as they provide instant gratification while you miss out on learning the fundamentals. Books can be helpful as well, I'd recommend the Dance Music Manual. Don't lose your passion, practice or study every day. Read and watch videos! Ask questions!
Also, you might want to read---> The Dance Music Manual and Last Night a Dj Saved My Life probably the two biggest jumps in knowledge in this genre you'll ever have.
Youtube, and this book. The book will give you the theory, and youtube will tell you how to do it in Ableton.
Look up Mr. Bill and Tom Cosm. They both have a ton of awesome and free Ableton tutorials.
Whatever you do, though, don't get sucked in to paying for tutorials (exception: Tom Cosm). With a little bit of effort, you can find anything you need to know on Youtube.
Also, check out /r/edmproduction for general production tips.
If you're trying to work towards a particular genre or styling of music I'd highly suggest hitting the books a bit. Experimenting in FL Studio will get you far, but after a certain point I found it helpful to read more about music theory and structure as it applies to the type of music you want to produce.
For example, recently I was struggling with a house remix I've been working on - because I don't usually make dance music. At someone else's recommendation I picked up this book and I've already learned so much that has helped me improve my music.
I'll also agree with another poster that picking a particular song (it helps if the song is in a genre you want to compose in, so you'll be able to keep your interest) and trying to recreate it is a great learning tool, but reading about how different types of music are typically constructed is also helpful.
I recommend buying this book:
http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0240521072
Limiters often introduce a bit of distortion since you're essentially folding the signal when it clips (or exceeds your threshold). Limiters are normally used to push the 'loudness' of a track (i.e. crank everything up, throw a limiter on it, voila it's louder and you don't have to worry about clipping). Honestly, using limiters has only limited myself. An amateur using a limiter will have trouble getting their tracks to sound right, since louder always sounds better in isolation, but doesn't necessarily mean it sounds better in the mix.
this book can help, it is helping me
Non-mobile: http://www.amazon.com/dp/0240521072?vs=1
^That's ^why ^I'm ^here, ^I ^don't ^judge ^you. ^PM ^/u/xl0 ^if ^I'm ^causing ^any ^trouble. ^WUT?
Here is the desktop version of your link
This book helped me improve with Reason a lot. The genre-specific sections are pretty dated now, but it is loaded with great advice on sound design, music theory, and mixing.
Dance Music Manual, Second Edition: Tools, Toys, and Techniques https://www.amazon.com/dp/0240521072/ref=cm_sw_r_cp_api_i_pV1dBb1P15E5N
http://www.amazon.com/gp/product/1598635034/ref=oh_details_o00_s00_i00?ie=UTF8&psc=1
http://www.amazon.com/gp/product/0240521072/ref=oh_details_o00_s00_i01?ie=UTF8&psc=1
Terrific book
This one is a little broader in scope, but it's been one of my go to reference books for years. Even if you're not into EDM, the topics discussed can be applied to pretty much every genre of production.
http://www.amazon.com/gp/product/0240521072
Dance Music Manual, one of my favorite http://www.amazon.com/gp/aw/d/0240521072?vs=1
Well the first issue you talk about-- the assignment of notes in your chords to instruments of the orchestra-- is orchestration. Here are a couple of good textbooks that cover that:
The other issues are covered by some of the topics in "voice leading." It sounds like you have an understanding of chord progression, but things like harmonic rhythm or how fast chords change is also covered in voice leading. Many of those decisions are yours to make and that's what makes it fun! Some composers will create a harmonic rhythm that they will use to create a structure throughout the piece. I am a professional composer and would be happy to answer any other questions. Good luck!
[The Study of Orchestration by Sam Alder] (http://www.amazon.com/The-Study-Orchestration-Third-Edition/dp/039397572X/ref=sr_1_5?ie=UTF8&qid=1396568479&sr=8-5&keywords=orchestration) is a good one, although a bit expensive.
Fundamentals of Composition by Arnold Schoenberg is one I really enjoyed, and goes from simpler forms and melodies to much more advanced areas.
Never heard of the Russo book till now, but this is what I used and still use - Samuel Adler's The study of Orchestration.
Forget all the other books: Sam Adler's is the one you want to read & reference. Highly comprehensive, and it uses a ton of examples (not just Rimsky-Korsakov works). Plus, the third edition is updated for 20th century writing.
Try it out. Dive in, see what works, what doesn't. Back it up with theory. I'm fond of these as resources:
Find scores you enjoy, and study those. Harmonics, counter-point, instrumentation, melodic structure, and so on. I'm particularly fond of James Newton Howard scores, and Jeff Atmajian's orchestration work on his projects. Like Ravel? Start there and become really intimate with Ravel and his scores and techniques.
That said, I'm also happy to orchestrate something for you. PM'd you.
If possible, look into taking a class at a local college.
Otherwise, check out an orchestration textbook like https://www.amazon.com/Study-Orchestration-Third-Samuel-Adler/dp/039397572X/ref=sr_1_1?ie=UTF8&qid=1467290384&sr=8-1&keywords=the+study+of+orchestration+samuel+adler
That's what a lot of schools use when teaching orchestration. This will help you learn how to write for specific instruments and covers many techniques. Another great way to improve your orchestration is to study scores. If you are looking for a specific "rich sound" like what you hear in whomever's symphony no. 2, then get a score for it and listen to it! I advise listening to it once without a score or listening but not looking too closely at it and following along.
Stick a page marker in the book on a page you find interesting or when you hear a sound you like, then come back to it and try to figure out what you like about it! The textbook will help a lot because it can inform you of a technique you may be unfamiliar with: what it's called, and how to notate it correctly. If you get a copy of the book with CDs you can hear some examples of everything in the book.
Another way to help if you can't find or afford the book is to find someone who plays the instruments you're writing for and go to them with pen and paper and ask them "show me every interesting trick or technique you know how to play." have them spell out whatever it's called and show you how you would notate it as well.
And like composing any new thing, the more you do it, the better at it you'll be.
I love the Adler but only because I'm a huge geek
That's the best one for instrumentation. Very thorough.
EDIT: Here's the amazon link to the book
Do it!! And dude, high five for being a jazzer.
Composition resources... I have a few things that I enjoy using: The Thesaurus of Scales and Melodic Patterns (sidenote: the best shed dictionary ever), an orchestration book or wikipedia the instrument you're looking for a range on, IMSLP also known as "so that's how that works", and jazz theory/harmony... though I don't have a book to recommend on that one, as I learned it in a trial by fire sort of way. As far as notation software goes, I'm a big Finale junkie, though there's little advantage to Finale over Sibelius until you get to doing weird things with the software. I've heard some really good things about Reason, though haven't tried it personally because my computer doesn't spec for it. Since you're probably more theory minded, I'd suggest starting with jazz and reverse engineering yourself a tune/chart from a progression you like. It's sorta like writing a solo, but with an eraser. //rambling...
Theremin?! That's so awesome.
Yeah. I totally hear you on that one. I have like nothing to add to a discussion about some fancy new microphone or being in a cover band.
http://www.amazon.com/Study-Orchestration-Third-Edition-Samuel/dp/039397572X
An orchestration book sounds like a VERY good idea... is this the one you're talking about?
There's a fair chance that no one will ever have to touch the stuff I've written. We did our performances (for the shows we didn't get an orchestra together so they were just piano/keyboard/guitar), and we're wrapping up studio recordings of the show, which is what I created the orchestrations FOR since I had the chance to have them be heard (digital orchestrations, yay!). Anyway, I'm putting together a master score at this point mostly for my own education and satisfaction. There's a slight chance that perhaps the show will be rented out someday, but who knows. Either way I'd like an accurate score of everything :). Thanks!
Well, I'm sitting here loading 23 dvd's of my new sample library, so I have some time to write :)
First of all I'm going to cite ITB gain staging honestly in digital you don't have to gain stage unless your effects plugins have an assumed range... slate (which does make input level assumptions) really hammered this home to me on the first project I did.
Gain staging is boring and takes a bit of time (and you have to revisit it if of you put in lots of piano or fortissimo sections after you set it initially), but it makes the mix go a lot faster. It also solves the issue of "crap this VST patch is way loud!"
I use live, so track routing may be specific to that.
Source (either audio, or instrument) -> sonalksis freeg to bring source to -18db RMS -> slate vtm -> slate vcc channel -> (optional side chain compression) -> (optional instrument compression, like to make a snare sound different)-> (optional effects like reverb or eq) -> output routed to a bus or group
bus or group -> slate vcc bus -> compressor for that instrument type / group (like FG-Grey for drums, FG-Red for synths) -> hybrid static/dynamic EQ here (which is really a mutliband compressor/expander)
bus or group always also goes to a dummy track (with no output) that has an instance of MMultiAnalyzer on it (for finding collisions and/or relative loudness of the groups). I do this on a dummy track so you can see the level after the output of the groups or bus's fader, ie, what the level is going into the master channel.
when mixing I first set the loudness within a group, and the ride the faders/automate levels among groups to balance the mix.
master chain
freeG-> slate vtm -> slate vcc -> MAutoDynamicEQ -> compressor 1 (usually slate fg-mu) set to barely move the needle off of -1db -> compressor 2 (usually fg-red) -> very fast compressor (built in or stillwell the rocket) at 1.5 ratio ~-9db to -12db threshold (for the fast stuff, think of it as the knee before the limiter) -> ozone (limiting and dithering only, with no gain and -0.30 for target) -> MLoudnessAnalyzer (for LUFS EBU R128 loudness for final mix check)
So to answer your question, since I almost always do my main compression via glue / bus compression on a group or bus, I would eq on the individual channel, before the compressor, if I considered it "part of changing the noise of that instrument." Compression for "make it fit in the mix and make it louder" is always handled on a bus, and The Glue compressor as well as VBC are really good for that -- a lot of people don't seem to know that's what "the glue" is made for.
Also, yes, that's three compressors in a row on the master chain. The reason is for the reaction speed differences, and coloration.
I don't use a limiter for the final gain stage, it's just there to prevent clipping. I try not to let the limiter hit more than 1.5 or 2db -- at 3db or more it's definitely hurting the mix even with IRC III or Elephant
I think you can see this all in action on a project here:
https://blend.io/project/540cfff496123d1970002907
Books I can't recommend enough:
Bob Katz
Mike Senior
Rick Snoman
TL;DR There's more than one way to do it, but after I read some books I tried a new way (to me) that I used on my most recent project and thought it was great for producing a nice loud (but not sausage) master.
My PC is high end though, on my older pc I couldn't run all this stuff at the same time.
If you don't mind reading abunch there is a book covering alot of the main things about EDM. It had really improved my producing, it is little heavy reading though. :)
Link to book
Thanks!
Congratulations on getting into computer music! I would search on YouTube for instructional videos on using Cubase.
For composing, try coming up with a couple of chord progressions, the simpler the better, and then put them one after the other. Then put a melody on top of that. Then add whatever other accompaniment you feel like. Hell, even one chord progression is fine. My song Love Story from Chromatic T-Rex is just one four-chord progression repeated throughout the entire song.
Also check out the Dance Music Manual: http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/
I haven't read it but I hear good things about it. :) Hope this helps!
Obligatory mention of the Dance Music Manual: https://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644
edit:/ the latest edition specifically goes more in depth on the "music theory" aspects of EDM production
These books were invaluable to me:
https://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=as_sl_pc_qf_sp_asin_til?tag=dimitridealen-20&linkCode=w00&linkId=6e883bdc057896253093f8e054c72c99&creativeASIN=0415825644
https://www.amazon.com/Mixing-Secrets-Small-Studio-Presents/dp/0240815807/ref=as_sl_pc_qf_sp_asin_til?tag=dimitridealen-20&linkCode=w00&linkId=9e884653f74a627e4c84ece7550dfa1b&creativeASIN=0240815807
https://www.amazon.com/Mastering-Audio-Science-Bob-Katz/dp/0240818962/ref=as_sl_pc_qf_sp_asin_til?tag=dimitridealen-20&linkCode=w00&linkId=c808c7581697392d615117dd9b96ec07&creativeASIN=0240818962
https://www.amazon.com/Complete-Idiots-Guide-Arranging-Orchestration/dp/1592576265/ref=as_sl_pc_qf_sp_asin_til?tag=dimitridealen-20&linkCode=w00&linkId=e16959ecc585f52445a79cb70f6fc52c&creativeASIN=1592576265
https://www.amazon.com/Complete-Idiots-Guide-Art-Songwriting/dp/1615641033/ref=as_sl_pc_qf_sp_asin_til?tag=dimitridealen-20&linkCode=w00&linkId=f587c782544a93ca1c853f973da25f0d&creativeASIN=1615641033
You missed a Rick Snoman's Dance Music Manual.
http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=sr_1_1?ie=UTF8&qid=1457134809&sr=8-1&keywords=dance+music+manual
This is a great book for getting started http://www.amazon.com/Dance-Music-Manual-Tools-Techniques/dp/0415825644/ref=sr_1_5?s=books&ie=UTF8&qid=1417712868&sr=1-5&keywords=music+production
Check out The Dance Music Manual and Dance Music Production
A few purchases I made recently after few days of researching and asking for recommendations.
Mike Stavrou - Mixing With Your Mind
Rick Snoman - Dance Music Manual, 3rd Edition
Bob Katz - Mastering Audio: The Art and the Science
Bobby Owsinski - The Mixing Engineers Handbook: 4th Edition
Edit: ...and I just checked out the ableton book recommended by /u/NeiloMac and now it's on its way.
I've used SongTrellis to find chord changes quite frequently (look for the link to the GIF for a chart), and the MIDI "backing" tracks are kinda useful for practicing sometimes. They don't include melodies though, as the melody is the copyrightable part of the tune and they'd be on the hook for infringement.
For melodies, more tunes, and just a generally useful resource, The Real Book is truly indispensable. There are a few more volumes, but that first one (linked) includes all the tunes PropositionJoe_ mentioned and then some. This is the Sixth Edition, the first "legal" version, which is arguably less complete than the Fifth (which you can find laying around some dark corners of the internet).
The Real book.
If you just want "chops" and don't want to know how jazz works, you can fake it by learning the standards.
The sixth edition of the Real Book.
wiki: The Real Book can refer to any of a number of popular compilations of lead sheets for jazz tunes, but is generally used to refer to Volume 1 of an underground series of books transcribed and collated by students at Berklee College of Music during the 1970s.
Whether the book used is the older "illegal" edition or the newer, Hal Leonard "legal" edition, at least one edition of The Real Book has become an indispensable resource for all aspiring and current jazz musicians. Musicians find it convenient to work from "the book", because it is available in different editions to suit B♭, E♭, and C (concert-pitch) instruments, as well as a bass clef edition. A band leader can conveniently call out page numbers, since each edition is also paginated identically.
Get the Real Book. Hundreds of great charts in one place, with super high quality. There are three volumes, but I and II are all you really need IMO. If you are able to sightread most charts with melody and improvise accompaniment, then you just need more practice. See if you can find some friends to jam with and just read charts. In my opinion, jazz can only really be learned by doing it over and over again with other live musicians.
Studying Jazz lead sheets is the most helpful, and the most commonly used book is the Real Book. The real book has Jazz Standards, and it gives the lead sheets with the melody written in sheet music, and the chord symbols written above the staff.
​
Looking at chords is mostly seeing what the quality of it is (minor, major, dominant, ect.), and then just looking at the extensions. Once you understand the types of chords, everything else is pretty simple.
​
I've made a guide to reading chord symbols, and it goes over all the common types of chords with common extensions. Here you go: https://docs.google.com/document/d/1G9GsGFRwS_2VqbyKma1JL8nti3OMTHZm5eGZ7nTU1zY/edit?usp=sharing
​
One last thing, you want to figure out chords yourself, or you'll never be able to completely understand chords, but if there are just some things that you can't figure out, here's a book I use that has chords galore in all keys: https://www.guitarcenter.com/Proline/Picture-Guitar-Chord-Pocket-Guide-Book.gc Think of it more as a something that helps, not your go-to thing for figuring out chords.
​
Hope this helps!
Are you familiar with The Real Book? I am in the process of learning it, and instead of just looking up videos that are in tune I am cataloging it for me and you and everybody. Some really nice jazz covers and some not so nice ones. :) Thanks for the feedback it's going to take some time.
Hap hap hello there! I am a bot and you linked to Amazon.
This comment contains 1 pricing graph(s)
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Product 1: The Real Book: Sixth Edition (0634060384)
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|Hi|$27.50|$22.48|$22.68|
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This one is pretty much the standard Real Book, based on my experience.
Personally, I'm partial to this version, but I don't think I've ever seen anyone else actually use it.
Get a "fake book." A big book of charts for standard tunes. Like this one: The Real Book: Sixth Edition https://www.amazon.com/dp/0634060384/ref=cm_sw_r_awd_SBHxub14QHMNV
I’d recommend picking up a copy of The Real Book. It has an absurd list of quality standards in lead sheet form. It’s not the end all, as the arrangements aren’t fleshed out beyond the essential components, but it’s a great place to start.
The Real Book is a popular one. I've also heard good things about the New Real Book.
Once again, thanks for the fantastic reply! I understand perfectly fine now (I think). I hadn't heard of this Real Book you mention at the end, I assume it's this one: http://www.amazon.com/The-Real-Book-Sixth-Edition/dp/0634060384 ? Is it just jazz chord sheets with the melody written on or how do they work? Because I suck too hard to improvise the rest anyways so it's probably not worth it anyways in that case haha
I was in a similar position a few years ago. I grew up playing trombone and guitar. I went to theory camps, and studied in college. In jazz, it's all mental at first. You have to know your theory and know it well. For now, go buy a real book, not a face book, or Steve's collection of jazz standards, or any other book. You need This one. It's the one everyone else will be using, so you might as well be on the same page. I'd recommend by looking it over, and making sure you understand what all of the chord symbols mean, and how to play over them. Once you figure that out, you can start putting together lines. If you have the budget for two books, then the other one you need is This one.
Oh, good point. It would amount to a lot of import tax depending on where you live.
If you're really just starting, have you exhausted all the stuff in The Real Book yet?
https://www.amazon.com/Real-Book-Hal-Leonard-Corporation/dp/0634060384
I'd at least expect Girl From Ipanema, Speak Low, and some Bacharach tunes to be in it.
As another starting point, learn how to finger shapes like Amaj7 and Amaj9 and such, but still be able to finger or open string play the root and fifth as your own bass line. What makes it tricky is that the bass is playing root-5 quarters while the other strings are playing the clave. You'll want to have this down before you play a song.
If you don't know how to play fingerstyle, I'm not sure how to teach that in a Reddit comment.
I'd suggest picking up Arban's method, as that contains a pretty good range of abilities. You can probably find it online. As well, the Real Book contains melodies and chord changes for many different jazz standards. You're going to want the Bb edition.
You can never go wrong with getting a real book but make sure you order it in the right key
Link to The Real Book in case you're interested.
Autumn leaves!
Seriously though, this is a hard one to say what the "bread and butter" progressions are. Everyone has their own taste. I would do what theStork said and get yourself the Real Book and start there. Vol. I and II are usually what most musicians have, but there are other real/fake books too. That, combined with listening to lots of jazz should help a lot.
You might also look into getting some of the Aebersold books or some other guitar books on voicings, they would help you out getting started. Finally, a good mentor/teacher is irreplaceable...
Hi, these are the textbooks at home. How much of help will they be?
Essential Jazz Elements: http://imgur.com/a/LtyW8
Standard of Excellence Jazz Ensemble Method: http://imgur.com/a/Q2rNh
The second textbook has songs in it to play (for sightreading?), will that do instead of the Real Book
I can say as a fellow bassist that my big first step into undstanding and using theorywas when I got Real Book and started doing walking bass lines between chords. Walking basslines are really one of the places where understanding chords is really important on bass because we are playing more than just the root or the fifth.
When it comes deeper understanding of harmony and chords, it kills me to say this, it's helpful to know how to play just a little guitar or even better some piano as you can start to connect the sound and movement or chords better by playing them. Bass, while being the supreme instrument, isn't a chordal instrument. We can play chords on bass but it's really not the same as how they sound on chordal instruments.
If you need help on how to get to started on walking bass lines I've heard good things about the Book Building Walking Bass Lines.
https://www.amazon.com/gp/aw/d/0634060767/ref=mp_s_a_1_1?ie=UTF8&qid=1480192493&sr=8-1&pi=SY200_QL40&keywords=the+real+book+bass+clef&dpPl=1&dpID=41Lk--BCg3L&ref=plSrch
https://www.amazon.com/Charles-Mingus-More-Than-Books/dp/0793509009
This should give you a great start. Good luck!
You might want to check out Jazzology
It starts with Intervals and explains everything regarding music theory from there upwards. The latest version has tab for the examples, making it easier to use. You might also want to consider Jazzology: The Encyclopedia of Jazz Theory for All Musicians too.
BTW - sight reading is when you attempt to play a piece of sheet music you have never seen before. Thats different from learning to play a piece and reading through it several times.
I had played guitar for a while before taking high school concert band. While I didn't like playing the french horn, the class was rewarding enough that I stuck with it for 3 years. I learned music theory and how to read music notation, and I can't stress useful it is. However, it is a slow, frustrating process.
My suggestion is to buy a beginner theory book, and then something like Jazzology. A teacher would probably be a huge help. You won't believe how fast you improve with a teacher.
Start with this, a full on telling of what really happens in the business. Here is the end.
https://i.imgur.com/BiUU27K.jpg
https://www.amazon.com/Real-Frank-Zappa-Book/dp/0671705725
Zappa's autobiography is pretty good.
To those who have only heard his wacky stuff: give this a listen. Watermelon in Easter Hay. The first song I had a real emotional connection with. I teared up listening to it the first time, and almost still do. In part bdue to the context on the album Joe's Garage, but even out of context the song is just beautiful.
If you are a Zappa fan I highly recommend reading The Real Frank Zappa Book, his autobiography, if you haven't already. Gives some insight into his though processes and what he went through to do what he did.
Responding to a Zappa quote with another Zappa quote. You should read his book, he was a tremendously fascinating man.
Fans, and even non-fans will also enjoy The Real Frank Zappa Book by FZ/Peter Occhiogrosso. Published in 1990. Good stuff.
Sweet, amazon has it in stock.
http://www.amazon.com/Dancing-Jesus-Featuring-Miraculous-Moves/dp/0762444142/
Here's a good book you should read.
The reviews for this on Amazon are amazing
I gotcha, sorry there. I was thinking content rather then delivery. Delivery is important. I can be as snarky as anyone, but I try to reserve it for what I feel are appropriate times.
Maybe a guide book on etiquette as a gift? Does the 'for dummies' series have a how to not be a dick edition maybe?
Edit - searching amazon for 'how to not be a dick' gets some funny results. I don't know how the reddit Secret Santa thing works but there's a bunch of good candidates for gifting kindle or physical book/s.
There's no need to feel bad because you have standards
https://www.amazon.com/Quotable-hole-Comments-Comebacks-Aspiring/dp/144052565X/
https://www.amazon.com/Dancing-Jesus-Featuring-Miraculous-Moves/dp/0762444142
https://www.amazon.com/Do-You-Want-Play-Balls/dp/098594871X/
https://www.amazon.com/Images-You-Should-Not-Masturbate/dp/0399536493
This popped up as a suggested item. I lost it.
I would heavily recommend the book Noad's book for classical guitar.
He does a really good job covering a lot of the basics, but you really want to pay attention to technique here. Classical can be a little more rigorous than modern and a bad habit now can really hurt you in the long run.
Otherwise, check out /r/classicalguitar for more resources and discussion. The subreddit is a little slow, but more activity would be greatly appreciated.
I recommend Noad. There are two volumes. This is a classical guitar book, but covers almost everything.
You'll also need a dedicated fingerstyle blues/folk book. These tend to be more fast and loose, and hence they can be light on actual instruction. Best is probably the Tommy Emmanuel technique book.
I also really like Pumping Nylon by Scott Tenant.
The all-time best right-hand exercises are by Mauro Giuliani and Fernando Sor. Some of these are included in PN.
Aye Jay is great. He's also responsible for the Gangsta Rap Coloring Book: http://www.amazon.com/Gangsta-Rap-Coloring-Book-Aye/dp/0867196041
http://www.amazon.com/Gangsta-Coloring-Book-Anthony-Morano/dp/0867196041
gangsta rap coloring book
I got a 21-year-old this colouring book as a Christmas present once.
I'm not sure how to link to an individual item within a wish list and still keep the shipping info available, but here's this if you do.
This coloring book is certainly unique!
I love subtle humor in comic books. Not slap-stick, falling down stairs/hitting each other/blah blah blah - I like when the characters are obviously comfortable with each other, and they pick at each other in a teasing way. I like jokes that you might miss if you're not paying attention - it draws me into the story more.
Thanks for the contest!
http://www.amazon.com/Modern-Method-Guitar-Volume/dp/0876390130
pick this book up :
http://www.amazon.com/Modern-Method-Guitar-Volume/dp/0876390130
If you go through it, and its other volumes, you will be an AMAZING guitarist.
My teacher before I came to college used this book with me, and it was great.
Can't find a video of it, but a duet called Sea to Sea from this book
["Scar Tissue"] (http://www.amazon.com/Scar-Tissue-Anthony-Kiedis/dp/1401307450?ie=UTF8&keywords=scar%20tissue&qid=1465428729&ref_=sr_1_1&s=books&sr=1-1), Anthony Kiedis' autobiography. His life is just crazy and interesting. ["If Chins Could Kill"] (http://www.amazon.com/If-Chins-Could-Kill-Confessions/dp/0312291450), Bruce Campbell's autobiography. A great read if you're a fan of his work, it's also really funny.
I would recommend Scar Tissue by Anthony Kiedis (Red Hot Chili Peppers singer/original member) and L.A. Son by Roy Choi (chef/Kogi truck mastermind). Both autobiographies tell stories about how growing up in LA shaped who they are.
The Dave Grohl Story. Maybe I had high hopes that it would be as interesting as Scar Tissue but so far it is an extremely in-depth history of hardcore punk in Washington with a few mentions of Grohl thrown in.
EDIT: Forgot to say read Scar Tissue. Absolutely incredible, even if you're not a Chili Peppers fan. That man has lived!
Cant pick just one So I'll name a few
I died laughing when I saw this one. Also, you can preorder the book here.
The Heavy Metal Fun Time Book would be awesome to color/fill out with the hubby :) Thanks for the contest.
X-ray and Vav
This book is awesome: http://www.amazon.com/How-Rap-The-Science-Hip-Hop/dp/1556528167
Keep hustling!! You've got it.
Hi Audio_Byte,
I posted this in the "I cringe at my own lyrics" thread, but it seems like you might benefit from it as well:
I'm actually working on a web app to help people with this very problem: Rhymecraft. It isn't ready yet but in the meantime my #1 tip for you is to read How to Rap Volume 1 and Volume 2. If you want me to email you when my app is done, send me a private message with your email address or just let me know you want me to send you a PM on Reddit.
What I've learned from studying lyrics is that usually there isn't one thing that makes lyrics good or bad; it's a collection of lots of different things, and your job as a lyricist is to understand what all of those factors are and make sure they're all working in your favor. Reading "How to Rap" will give you a good intro to what some of those factors are.
Not feedback for your track but I have a book to suggest. I know the title make it sound super-cheezy, but it's a full of interviews with great rappers on how they work, writing and performing live and in the studio.
https://www.amazon.com/How-Rap-Art-Science-Hip-Hop/dp/1556528167
Root For The Villain: Rap, Bull$hit, and a Celebration of Failure by J-Zone (who, if you're familiar with his music, is equally funny in his book)
Hip Hop Family Tree by Ed Piskor (it's a graphic novel focusing on the early days of hip hop done in the style of 90s Image comics)
How to Rap: The Art and Science of the Hip-Hop MC by Paul Edwards (this is full of interviews with some of the greatest of all time discussing every single aspect of rapping)
There's also The Wu-Tang Manual and The Tao of Wu, both by RZA and both very good for Wu-Tang fans.
If you think she may be interested in books on specific albums, the 33 1/3 series has quite a few on some of the genres greatest albums: Illmatic, Paul's Boutique, Donuts, People's Instinctive Travels And the Paths of Rhythm, It Takes a Nation of Millions to Hold Us Back and My Beautiful Dark Twisted Fantasy. She may enjoy Born to Use Mics: Reading Nas's Illmatic, which is a more scholarly approach to Illmatic, although admittedly not for everyone (if critical theory isn't her thing probably pass on this one).
Whoever is interested in learning more about rhyming and rap techniques I highly recommend How to Rap: The Art and Science of the Hip-Hop MC book
How To Rap has a lot of interviews with different rappers on their takes. I'm only part way through it but it has been interesting so far.
Read this: all the theory is there. http://www.amazon.com/How-Rap-The-Science-Hip-Hop/dp/1556528167
If you want to understand what the Wu are talking about read these two books. If you have any interest in the Clan, read these two books.
http://www.amazon.com/The-Wu-Tang-Manual-RZA/dp/1594480184/ref=sr_1_1?ie=UTF8&qid=1407615132&sr=8-1&keywords=wu+manual
http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=tao%20of%20wu&sprefix=tao+of+w%2Caps&rh=i%3Aaps%2Ck%3Atao%20of%20wu&ajr=2
Have you ever read [the wu-tang manual](http://www.The.com/ Wu-Tang Manual https://www.amazon.com/dp/1594480184/ref=cm_sw_r_cp_apa_i_1JWVDb79R1WJ1)
Yep, The Wu-Tang Manual, written by RZA.
Got it for christmas, still haven't got to read all the way through it. The stuff I've seen in there so far is dope, though.
He's got another book that's a sequel to this one or something, but I ain't read it and I'm too high/lazy to go find a link for it
I found out this is all part of a book:
http://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122
And there's more parts available on this site (which includes more images and videos!):
http://informationfarm.blogspot.com.au/2010/02/inside-lc-strange-but-mostly-true-story.html
Archive.is link
Why this is here.
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this is the official story... evidence exists however that the military actually synthesized LSD from LSA(i think... LS-something... cant remember) based on Hoffmans previous work.... even if this isnt true however, it is clear that Hoffman did have a relationship with the US military, the OSS, and later the CIA....
I havent looked at this info in a while and was trying to find sources for another guy earlier but he pissed me off with his ridicule... cant remember the authors name.... ill try to search thru some youtube channels for the interviews i remember he was in and get his name.... ill post some links in this comment latter for you.... the guy really did some indepth digging into this and provides source material... check back at this comment in a hour or two....
Found it: http://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122 - the book focuses primarily on the 60s but includes information on Hoffman.
https://www.amazon.com/Weird-Scenes-Inside-Canyon-Laurel/dp/1909394122
http://m.youtube.com/watch?v=o2GjY8DN-7I
http://dangerousminds.net/comments/classic_rock_conspiracy_theory_weird_scenes_inside_the_canyon
On the other hand, I found this url on amazon:
https://www.amazon.com/JesusDidntUseModernMedicineAndHeTurnedOutOkay/dp/0762444142/
Silk and steel strings may help you achieve your technical goals. You don't need a nylon string guitar to learn the method. The most significant gain of going that route is the generally larger string spacing.
If you do go for a classical guitar, a pro setup on the least expensive solid top guitar you can find, with some really good strings should hold you over for a long while. Just make sure it has an adjustable truss rod. Upgrading to a bone saddle/nut will improve the tone of the best or worst guitars for a very low price.
This book: Solo Guitar Playing - Book 1, 4th Edition https://www.amazon.com/dp/0825636795/ref=cm_sw_r_cp_apa_i_6XrmDbNG3FF0H
Probably the most commonly(successfully) taught/learned classical method book ever to have existed and is geared towards a total beginner.
Rock on dude. \m/
Weird Scenes Inside the Canyon by David McGowan
Here is an interview with the author: Sofia Smallstorm Interviews Dave McGowan
for further reading