The Keyboard Grimoire
The Keyboard Grimoire: A Complete Guide for the Guitarist and Keyboardist by Adam Kadmon
Carl Fischer Music Publisher | 1993 | English | ISBN-10: 0825826799 | 202 pages
Man, am I ever tired of individuals giving books one-star audits and afterward reprimanding them for not being what they were never expected to be. It's not care for you can't get another book to show you the ins and outs of diverse styles, or how to assemble harmonies into satisfying movements, or how to peruse standard documentation, or beat examples for extemporization. There are truly THOUSANDS
of books on such themes, which would have made it stupid for the writer to attempt to treat them when the objective was to give something that IS NOT somewhere else accessible (to the extent I know)- an one-stop reference for practically every conceivable scale, mode, and harmony conceivable, clarified with visuo-spatial outlines that show everything very instinctively, as well as in a manner that could be seen by somebody who is deprived of abilities in music documentation as well as FUNCTIONALLY ILLITERATE. Believe it or not, in the event that I ever have a mentally unbalanced child I am going to give them a hundred dollar Casio and this book and make myself a console nitwit intellectual.
Indeed, on the off chance that you are CREATIVE, and EXPERIMENTAL, you can make sense of a lot from this book alone, particularly with cutting edge consoles giving programmed rhythms, and so forth. I began playing console eighteen months back, having NO PRIOR MUSICAL TRAINING, and this was the first book I utilized, being a scholarly masochist. In around two weeks, I knew more about scales and modes and harmonies than anyone I know likely ever will. Without a doubt, when I say "individuals I know" I am discussing individuals sticking around a coffeehouse, not a center of music, but rather still. I began by simply messing around. I saw that there were graphs indicating which harmonies ran with which scales so I simply began playing those harmonies in the left hand and those scales in the right hand, simply messing around. Case in point, by the outline for the real scale it says that it runs with significant harmonies. So I hoped to see which real harmonies were incorporated in the scale, which is C, F, and G in the key of C. I played around, fingering diverse scales and shifting beat, recorded some stuff, and listened to it. Some of it began sounding sort of like stuff I've listened.
I've had a great deal of fun rehashing this procedure again and again and "opening" the sounds that are "solidified" in diverse harmonies and scales. I haven't figured out how to peruse music yet (well, past All Cows Eat Grass and all that) and don't have a clue about any melodies, yet still, I am equipped for ripping off performances that have individuals going "WTF" and am fit for recording an unbounded measure of recorded music (in the event that I require another tune, I simply pick another scale, or method of that scale, and begin pecking ceaselessly). Of late I have likewise started playing a percentage of the examples out of the Pop Piano Book, so I can learn backup styles and rhythms, and I am additionally considering getting The Classical Fake Book so I can study up on some wiped out tunes.
So truly, I don't normally compose audits, yet I needed to compose one here so that the book could get up to four and a half stars. I think by perusing my survey you can tell whether this is for you. I wholeheartedly prescribe purchasing this book in the event that you are an arranger or improviser who didn't get fortunate in life and who either didn't get the opportunity to head off to college or needed to study something functional while they were there, and couldn't study something so inconsequential as music. Truly, this is a school level direction in a solitary book. Spend a couple of minutes a day with this, and perhaps a supplemental book to show you whatever styles you are keen on, and you may astound yourself with how instinctive this all gets.