Welcome to CK On line! This course is for professionals or those who want to be
professionals. I ve been wanting to do this on line for years and I have finally f ound the time to get everything organized. The Contemporary Keyboardist is diffe rent than most instruction methods in that it is organized into a personal custo m course that locates and concentrates on your weak fundamentals. That is why it is extremely important that you take the time to honestly fill out the registra tion form that contains your history. The goal is to not only to help you with y our music basics but to also help you find your melody, your expression to sound like YOU and not somebody else which is the trap. The first step on this journey is to become confident with your playing so the real you isn t afraid to shine th rough and express itself. All playing problems stem from weak fundamentals in th e following areas: 1. Ear training 2. Technique 3. Harmony/theory 4. Rhythm/Time 5. Improvisation 6. Repertoire/Styles Your assignments will therefore consist of various exercise, drills and assignme nts in all of these areas simultaneously. Don t just get excited about one area an d ignore the rest. Start at the top of your lesson, ear training and spend a def inite amount of time on each section skipping none! Don t get stuck on one section just because you haven t completed it. You ll have two weeks between lessons to be working daily on each section. At the end of the two weeks, you are where you ar e. You send in what you have achieved period. Some things are fun to do; some th ings are not. You should practice daily, at least 5 to 6 days per week and anywh ere from 2 to 3 hours per day minimum if you really want results. Although talen t figures into the equation, it takes mostly hard work, diligence, discipline an d desire (passion) to become a good player, and oh don t forget about patience as it takes as long as it takes! Sincerely, John Novello
Dictionary of Hammond-Organ Stops - An Introduction of Playing the Hammond Electric Organ and a Translation of Pipe-Organ Stops into Hammond-Organ Number-Arrangements