Key Retention Builder

The purpose of this book is to improve your key retention. Developing a strong sense of key makes many aspects of ear training easier. The idea is to slowly wean you away from having to hear a drone as a key reference and have the key center become a natural part of the way you hear. To do this you will work through a set of singing exercises where we slowly remove the drone until you can hear a cadence and then sing all the way through any exercise in this book by only getting a key reference to start. There are 4 CDs that accompany this book. These CDs slowly begin to interject silence while you continue to sing the exercise. You could also just pause CD1 and replay the drone if you need to reinforce the key center. This Ear Training method has been developed to teach you how to hear the way musical sounds are organized within a key.With proper practice you will be able to instantly recognize: what notes other musicians are playing; what key a chord progression is in; what the notes in a given melody are; and, what the sounds they are hearing in their mind are. Muse Eek Publishing Company hosts an on-line resource in conjunction with this book. There is also a free "Member's Section" where book owners can download other files specific to this method and/or other help files to further their music education.Unlike traditional situations where the reader is left on their own after purchase of a text, Muse-Eek Publishing seeks to keep the reader/student engaged and interactive with the author. With each book you are beginning a relationship in which help and direction are always available to make sure you are learning correctly. This book is a required text at New York University and Princeton University, and is recommended for beginning music students ages 13 and up. University, and is recommended for beginning music students ages 13 and up.

Table of Contents:
TABLE OF CONTENTSAcknowledgements vAbout the Author viForeword viiHow to use this book viiiExercise 1 1Exercise 2 2Exercise 3 3Exercise 4 4Exercise 5 5Exercise 6 6Exercise 7 7Exercise 8 8Exercise 9 9Exercise 10 10Exercise 11 11Exercise 12 12Exercise 13 13Exercise 14 14Exercise 15 15Exercise 16 16Exercise 17 17Exercise 18 18Exercise 19 19Exercise 20 20Exercise 21 21Exercise 22 22Exercise 23 23Exercise 24 24Exercise 25 25Exercise 26 26

About the Author :
Bruce Arnold (born 1955 in Sioux Falls, South Dakota, USA) is an author, composer, educator and guitarist residing in New York City. His explorations into the applications of 20th century classical theory in contemporary forms such as Rock and Jazz has created a unique compositional and improvisational sound. As a guest artist Arnold has toured Australia, Canada, the Caribbean, Europe, Japan, Mexico, Russia and the United States.His performance and recording activities include work with a wide array of styles. He has played with such diverse musicians as Stuart Hamm, Peter Erskine, Joe Pass, Joe Lovano, Lennie Pickett, Randy Brecker, Stanley Clarke, the Boston Symphony Orchestra and the Absolute Ensemble under the baton of Kristjan Jarvi.Bruce Arnold's recording credits include over twenty five CDs and DVDs (on Muse-eek Records, MelBay Recordings, Truefire and other labels), ranging from the standard jazz repertoire to free improvisation to the reinterpretations of classical music with the ensemble Spooky Actions. His compositions are published by Muse Eek Publishing, and MelBay Productions.Mr. Arnold's theoretical works have explored the use of Pitch Class Set Theory within a improvisational setting. He is also written more than 60 music instruction books covering Guitar Pedagogy, Ear Training and Time Studies. He is the director of guitar studies at New York University and Princeton University as well as the creator of the New York University Summer Guitar Intensive He has taught at New England Conservatory of Music, Dartmouth College, Berklee College of Music, New School University, and City College of New York.