HARMONIC MELODY THE ULTIMATE AND EASIEST GUITAR METHOD Newel Kimballs guitar instruction provides anyone wishing to play the guitar (1) a musical notation method that is easy to read, simple to understand, musically complete, obvious, natural, beautiful and easy to play, (2) the fundamental instruction necessary for developing the ability to play complete guitar music, (3) the fastest possible startup on the guitar, (3) an indepth introduction to the beauty and enjoyment of the guitar, (4) an indepth understanding of chord theory, song theory and guitar theory, (5) to develop the ability to play virtually any song by ear, and (6) to open the door to all amateur and professional areas of guitar music, including music therapy. WHAT IS HARMONIC MELODY? Newels method is the Harmonic Melody system, which includes simultaneous integrated arpeggio (fingerstyle) accompaniment. Harmonic Melody means that a song is played on the guitar much as a song would be played on the piano with each note of the song being played as an integral part of a chord (when three, four or more notes are sounded at the same time). It is orchestral in nature and is the kind of music played by guitar masters Les Paul, Chet Atkins, Eric Clapton, Mark Knopfler (Dire Straits), Wes Montgomery, George Benson, Herb Ellis and certain others. Harmonic Melody is a method of rendering the entire music of the song with one guitar. It is quite different from classical and lead rock guitar. Both methods typically make use of singlenotemelodies. While often beautiful to the ear, the singlenote method spends little time on chord structure, vital to full orchestral music. Also, harmonic melody differs from rhythm accompaniment, in that accompaniment does not present the melody at all but as the guitar is very suited for accompaniment as well as melody and as the accompaniment forms the basic background of a song, accompaniment skills are explained and encouraged. HARMONIC MELODY is how music is played on an organ or piano and by orchestras and bands. Even though harmonic melody is the essence of keyboard and orchestra music, it is not the common style generally played on the guitar, and the reason is simple staff notation has become the common musical language because it is a natural and obvious method for keyboard notation like piano and organ. However.it is entirely unnatural for fingerboard instruments like guitars, banjos and mandolins. The mismatch is the reason why guitarists must spend years of study and practice to master the difficulty of translating the staff notation to the guitar fretboard and is the reason why the guitar is most commonly played as an accompaniment or singlenote instrument. Tablature is the other popular guitar notation method, and even though it is more natural and explicit for the guitar than the staff, tablature is hopelessly slow to read due to the everchanging use of numbers for the frets. Worse, both staff and tablature do not show the righthand fingeringthe most vital aspect of guitar music. Now, fullpicture notation written in GuitarPerfect symbols allows practically anyone to quickly play beautiful harmonic melody arpeggio fingerstyle music. WHAT IS GuitarPerfect NOTATION? Newel Kimballs method makes use of his unique fullpicture fretboard symbol, now copyrighted and trademarked as GuitarPerfect which facilitates an immediate entrance into the world of the guitar. Chords for the left hand are shown in fullpicture form, including specific finger placement using unique finger symbols for each note of the songs melody, while righthand symbols for each note of the songs melody are used to integrate the powerful arpeggio fingerstyle accompaniment, thus creating Harmonic Melody (the ultimate guitar method). No time is lost in the laborious effort of translating the keyboard language of the staff to the fretted fingerboard of the guitar. After learning a few basic essentials of the new notation system, complete songs can be played almost immediately. With the time thus saved by the use of the GuitarPerfect symbol, there is more time left to study and understand both the theory of music and the theory of the guitar. Much of the chapter materials are devoted to the fundamentals of music composition, as well as the fundamentals of playing by ear, thus reducing the need to rely on someone elses instruction or musical notation INSTRUCTIONAL DVD Also included with the manual is an instructional DVD showing a twopanel video presentation of the playing of the songs and providing useful and littleknown explanations of music and guitar theory essential for figuring out the music of others, and especially helpful for composing ones own music. Also included are indepth graphic presentations of all pertinent materials and techniques presented in the manual. The visual and aural DVD facilitates the fastest possible learning and playing of a songs melody and accompaniment. THE SONGS The eight songs in the manual are graduated in reasonable order of difficulty, starting first with songs with the slowest tempo and simplest of chords, followed by songs with more chords and fingering complexity. A beginning guitarist will find this progression both challenging and satisfying. An advanced guitarist can enter at the proper level of challenge and complexity as best fits them. After mastering these songs, Newel Kimballs SeventyFive Gospel Favorites for Guitar will provide ample material for expansion. Also, with the acquired understanding avanced by the manual and DVD, the guitarist will be able to play virtually any desired song by ear. CHARTS and GRAPHS Explanatory charts and graphs abound throughout the manual. Worksheets are provided for chord and song transcribing purposes. NOTE Also available is the companion volume Newel Kimballs SeventyFive Gospel Favorite for Guitara book of the alltime beautiful songs witten in the GuitarPerfectHarmonic Melody style.
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坦白说,初次翻阅时,我对它的排版风格感到有点意外,它没有那种常见教材的冷冰冰的严肃感,反而带着一种古典音乐会手册的精致感。但这种设计很快就证明了它的价值,特别是在介绍那些复杂的琶音和分解和弦练习时,清晰的五线谱和六线谱对照,加上对每个音符动态标记的精细标注,让我在练习时几乎不需要猜测作者的原意。更值得称赞的是,它对不同演奏风格的融合处理。书中不仅包含了基础的民间指弹技巧,还巧妙地融入了古典吉他中对音色的控制理念,以及弗拉明戈中对打击乐效果的运用。这使得练习素材非常丰富,让人不会觉得枯燥。它鼓励探索,而不是死记硬背,这一点对于希望在传统指弹框架外寻求突破的演奏者来说,简直是打开了一扇新的大门。它要求你不仅是一个技巧娴熟的吉他手,更是一个全面的音乐思考者。
评分我接触过不少指弹教材,但这本书给我的感觉是,它真正站在了“演奏者”的角度来撰写,而不是一个纯粹的“教育者”。它非常注重乐感和音乐性的培养,这一点从它对节奏型变化的讨论中就能看出。书中花了不少篇幅来探讨如何在固定的指法模式中注入人性化的律动感,例如,如何通过轻微的提前或拖后拨弦来模拟出更自然的呼吸感,而不是机械地遵守节拍器的刻板要求。对于我这种非常注重“Groove”的乐手来说,这太重要了。此外,它对指板的记忆和视觉化也有一套独特的训练方法,它引导你跳出“看谱子”的思维定势,转而去理解音符在指板上的空间关系,这极大地加速了我即兴发挥的能力。这本书的难度曲线设置得非常平滑,即便是中级水平的乐手,也能从中找到提升的空间,因为它总能在看似简单的练习中,藏着一个让你豁然开朗的和声小秘密。
评分这本吉他教程简直是为我这种想深入学习指弹独奏的乐手量身定制的,从最基础的开放和弦运用,到复杂的和声进行和旋律线条处理,讲解得极为透彻。特别是它对“织体”(Texture)的构建有着独到的见解,书中并没有简单地堆砌技巧,而是花了大量篇幅去解释如何在同一把位上利用不同的指法和拨弦方式,创造出层次分明的听觉效果。我特别欣赏它在讲解布鲁斯和爵士和声转换时的细腻之处,很多其他教材一笔带过的地方,这本书却能用非常清晰的图示和例句,将那些看似晦涩的和声色彩变化,变得触手可及。而且,教材的编排逻辑性极强,你感觉每学完一个章节,你的吉他表现力就上了一个台阶,而不仅仅是多会了几首曲子。对于那些追求“丰满”和“立体”音响效果的吉他爱好者来说,这本书绝对是案头的必备指南,它提供的不仅仅是“怎么弹”,更是“为什么这样弹会更好听”的哲学思考。
评分这本书的价值,很大程度上体现在它对细节的“偏执”。举个例子,在讲解如何获得更清晰的低音线条时,它会详细分析不同手指的指甲角度、与琴弦接触的深度,以及拨弦后的“回收”动作,这些都是通常被忽略的“微观”技巧。它不是简单地说“用力拨”,而是告诉你“如何用最省力且最有效的方式,让低音部保持清晰的独立性,即使旋律进行得很快”。这种对物理接触点的深入探讨,极大地改善了我的音色一致性问题。而且,书中选用的曲目示例非常巧妙,它们既有足够的挑战性,又紧密贴合前一章节刚学到的理论知识,形成了一个完美的闭环学习系统。阅读过程中,我感觉作者像一个经验丰富的老匠人,不厌其烦地指导你如何打磨自己的工具和技艺,确保你走的每一步都坚实可靠,而不是盲目追求速度和复杂性。
评分我一直觉得,好的教程应该提供一种“思维方式”,而不仅仅是“动作指令”,这本教材无疑做到了这一点。它对如何构建一个完整的指弹“Arrangement”有着系统的框架梳理,从确定主旋律和低音根音的初步设定开始,逐步引导读者思考如何填补中间的和声空隙,以及如何运用休止符来增强音乐的呼吸感。它教你如何像一位作曲家那样去思考,而不是被动地模仿录音。其中关于“空间感”的章节让我印象深刻,它解释了如何通过交替使用拇指和手指的力度差异,在听众的脑海中创造出多把位演奏的听觉错觉。对于那些希望将自己改编的歌曲提升到专业水准的业余爱好者来说,这本书提供的工具箱是无价的。它不仅仅是一本教材,更像是一本关于指弹艺术创作的深度工作坊笔记,充满了实战的智慧和对音乐本质的深刻洞察。
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