goto section page goto youngmonkey main page make contact, e-mail


Keyboard - Articles
Aug 80 - Jul 98
Advertising Space Available

ArrowRReviews
Contents

Applied TheoryIssuePage
197th ChordsJul 89100
A Gold Mine For Chord DiggersJun 89103
A New Way of Looking at the KeyboardJul 8630
Add Harmonic Tension with Chromatic WedgesNov 86115
Altering Melodic Tones To Fit Altered ChordsJan 8794
An Old Circle & A New TreeSep 88109
Augmented 6th Chords, Part 1Apr 88108
Chameleon ChordsJun 88117
Developing Relative PitchMay 8993
Diminished 7th ChordDec 88109
Direct Key ChangesJan 89119
Dominant Seventh Cycles: The Secret FormulaMar 87102
Double and Triple Chromatic WedgesDec 86104
Extending Chords Via Major Seventh IntervalsAug 88110
From Motif to MelodyOct 86102
Getting the Most From Five NotesNov 87112
Instant HarmonizationJan 8898
Intensifying Harmony By Adding Chromatic ChordsAug 8698
Interval RecognitionApr 8998
Making Modes Sound More Modal, Part 1Jul 90106
Making Modes Sound More Modal, Part IIAug 9084
Making Modes Sound More Modal, Part IIISep 90111
Making Modes Sound More Modal, Part IVNov 9096
Making Progressions From Seventh RotationsMay 8796
Managing Melodic MotivesSep 86110
Modernizing The Horn FifthAug 89104
More Augmented 6th ChordsMay 88109
Musical OnomatopoeiaNov 8996
Non-Traditional Progressions From Traditional MaterialsJun 9081
Pandiatonic HarmonyMar 8985
Pentatonic Scale: Bridging Musical Styles Around The WorldOct 87107
Quartal ChordsJul 88122
Reading The MetersMay 9094
Restructuring 13th ChordsDec 87114
Seventh Chord Rotations: A New Formula For An Old RecipeApr 87111
Sound-Sweetening Successions Of SixthsJun 87133
Spice Up Your Melodies With CountermelodiesFeb 87112
Strange Scales, Strange ChordsSep 87125
Substitute ChordsFeb 89103
Tackling The 12-Tone RowOct 88115
Tactics For Writing TunesDec 8994
Tactics For Writing Tunes, Part IIJan 90104
Tactics For Writing Tunes, Part IIIFeb 90101
Tactics For Writing Tunes, Part IVMar 90110
Tactics For Writing Tunes, Part VApr 90115
Tetrachord Applications: Bizarre ScalesAug 8795
Tetrachords: Traditional & TrendyJul 8742
TexturesSep 8985
Transposition TemplateJan 91111
TurnaroundsMar 88101
Using 12-Tone Methods In Other StylesNov 88126
Walking Bass LinesFeb 88119

Master ClassIssuePage
A Lesson From C.P.E. BachFeb 8266
Beethoven's Hidden Phrasing TreasuresJun 8265
Cadences in Late BeethovenJul 8263
Chopin Pedalling: The Ballade In Ab, Op. 47May 8154
Chopin's Mazurka, Op. 30, No. 2Jun 8485
Chopin's Prelude Op. 28 No. 3Aug 8692
Chopin's Rhythmic CluesNov 8271
Communicating Musically: Motif RecognitionNov 8484
Communicating Musically: The Romantic ApproachDec 8479
Cross-Rhythms in the Music of BrahmsSep 8256
Final Thoughts On Chopin PedallingJun 8168
For Left-Hand Dexterity, Try Bach's Solo Works For StringsJun 87132
George Gershwin's Preludes For PianoJul 8744
How To Commission A Keyboard WorkJun 88114
How To Track The Logic In Your MistakesMay 87101
It's All in the WristNov 8175
Mozart Variations: A Musical CarnivalMay 8253
Pedal Point In Brahms, Part 1Dec 8269
Pedal Point In Brahms, Part 2Jan 8360
Pedalling Chopin, Part 1Apr 8150
Pedalling Hints and HabitsJan 8266
Pedalling, Part II: Comparing EditionsMar 8152
Posture, Tension, & Tone ProductionJul 8473
Practicing & Recital ProgrammingApr 8364
PracticingJan 88106
Reading Between The StavesApr 88112
Structure and Interpretation`May 8362
Technique, Part 1: Finding Your ToneJul 8176
Technique, Part 2: Relaxation in MotionSep 8152
Technique, Part 3: Avoiding Hand TensionOct 8168
Tempo, Pulse, and ContinuityAug 8476
The Art of Pedaling (Part II)Mar 8996
The Art Of PedalingNov 88120
The Artist's Life Is Not a WaltzDec 87117
The Classical Approach to MozartApr 8262
The Hidden Meters of BachAug 8261
The One-Hour Practice SessionOct 88109
The Pathetique: Gleaning Phrasing Clues From An Urtext EditionApr 87110
The Urtext Edition: For Turning Old Favorites Into New InterpretationsMar 87104
The Wrist' of the StoryDec 8165
Thoughts On Pedalling, Part 1Feb 8162
Classical' Does Not Mean DeadNov 87110

Private LessonIssuePage
1 is Not EnoughMar 8629
A Liberal Look at the Right: Enhancing a Melody with Grace Notes and RhythmsSep 8528
A Short Trip Beyond the Horizons of 4/4 TimeJul 8532
Accenting & Accénting on Drum MachinesMar 8620
The Art of Comping for the Jazz PianistFeb 8632
Back to Bass-icsMay 8628
Basic Rock Beats for Drum Machines in 4/4 & 3/4Jul 8531
Bebop Etude No. 3Oct 8530
Better Backbeats with Drum Machines, Part 1Aug 8564
Beyond Polyrhythms: A Chopin RubatoOct 8693
Building Fresh Chords & Melodic Lines with Intervallic ThinkingOct 8532
Catchy Pick-Up LinesJun 8634
Chord Voicings for the Jazz PianistNov 8537
Cross-Rhythms from Ancient History to TodayFeb 8639
Debussy's Preludes, Book 1Apr 8627
Debussy's Preludes, Book 2May 8630
Design of MelodyJun 8626
Diminished Chords for Modulation & Harmonic FillsJul 8534
Drum Pattern Hooks & Backbeats, Part 2Oct 8531
Evocative Titles & Performance Directions In DebussyMar 8626
Exercises for Smooth Polyrhythms: Three Against FourJun 8632
Exploring the Virtuosic Requirements of Debussy's EtudesJun 8628
For Smooth Legato Phrasing While Shifting Hands, Try This "Keyboard Etude in Bass Clef"Aug 8562
Further Adventures with Legato Phrasing in a "Two-Voice Invention"Nov 8535
Gaining Left-Hand AwarenessSep 86109
Gesture and Texture on the KeyboardApr 8630
Harmonic Daring and Visionary Episodes in Debussy's Piano MusicJan 86113
Hindemith's Kleine Klaviermusik: Provocative Ideas for the Intermediate PianistMar 8623
How a Pianist Works on Ear-Hand CoordinationJan 86112
How to Structure a Solo Concert for a Real PerformanceOct 8690
J.S. Bach's Unexpected Sources of InspirationNov 8540
Knowing Your Chords and Making Them Work For YouJun 8625
Minors are AllowedNov 8538
Mixing Ingredients: Backbeats, Hooks & Patterns, Part 3Nov 8532
On Prokofiev's "Vision Fugitive XVI"Feb 8636
On Schumann's "Important Event" from KinderszenenApr 8632
Performance Techniques for Sonata K. 239 by ScarlattiDec 8524
Piano Music in the Twentieth Century, Part 1: ParisNov 8536
Pink Fire-Eating Dwarves Pursue Drum-Machine-Playing MermaidsJun 8630
Playing Solo Piano, Part 2: Finding New Resources in Familiar MaterialSep 86106
Polyrhythmic Skill, Part 1: Two Against ThreeMay 8627
Polytonal Chords and Pedal Point for the Jazz PianistApr 8624
Remembering Johnny Guarnieri (1917-1985)Sep 8525
The Sources of Debussy's InspirationDec 8528
Strategies for Hand IndependenceMar 8624
Stride the HallsDec 8529
Striking Harmonic Juxtapositions in Debussy's "Reflets dans l'eau"Feb 8634
Sustain Interest In Your MusicSep 86117
These Are a Few of My Favorite ThingsApr 8628
To Divide or Not Divide the Odd MeterDec 8530
To Sequence or Not to SequenceJan 86110
Using "Shadows" for Rhythmic Accuracy During Sustained Notes and RestsFeb 8630
Waltzes by Franz SchubertDec 86108

Rock TechniqueIssuePage
Building Lead LinesOct 8170
Chord PatternsAug 8263
Chord Voicing & Voice LeadingJun 8167
Comping - An AttitudeOct 8374
Creative Chord SubstitutionsJun 8261
Develop Your CreativityFeb 8475
Doing a Successful RecordingJul 8368
Fill in the BlanksDec 8268
Filling in Behind a MelodyJan 8470
Finding the Right Keyboard PartAug 8052
Getting A Record ContractNov 8174
Getting Ready To Do A RecordingJun 8490
Intros & EndingsFeb 8174
The Invader SoundSep 8257
Ivory ExpeditionsApr 8360
The Jacks on the BackFeb 8365
Modern Chord VoicingsMay 8159
Overdubbing A Supporting PartDec 8066
Pitch-Bending & VibratoOct 8265
Pitch-Bending ExercisesNov 8265
Playing Bass Lines on SynthesizersJan 8565
Practicing & FingeringJun 8579
Practicing for the Fun of ItNov 8472
Progressions & LinesOct 8062
Progressions & Lines, ContinuedJan 8157
Rhythm CompingMay 8255
Scalar & Angular PlayingDec 8486
Scales & ImprovisationsSep 8153
Scales for ImprovisationOct 8483
The Secrets of AccompanimentApr 8474
Setting Up To Do A Home DemoJul 8478
Synthesizer Bass, Part II: Walking BassMay 8567
Tips For Sitting InApr 8153
Tools for ImprovisationAug 8154
Using Your Keyboard Stack EffectivelyFeb 8268
Using Your Stack Effectively, Part IIMar 8257
Working Effectively in the StudioDec 8168

Technical ExercisesIssuePage
4/4 Rhythms You Can't March ToFeb 87102
Don't Let Double Notes Give You The BluesOct 87106
Exercises For The Jazz PianistJan 8788
Further Challenges For One-Handed PlayingNov 87118
Hand Stretchers IIJun 87130
Hand StretchingMay 8798
How To Cultivate An Uneven TouchApr 87106
Improvising on ArpeggiosAug 8792
Learning From The KangarooSep 88104
Lizards & ArpeggiosJul 8741
Playing FourthsAug 8999
Playing Twister At The KeyboardMay 88106
Rhythms Mozart Never Thought OfMar 8799
Technique and the Synthesizer, Part 1Dec 87110
Three, Four, FiveMar 8993
Tremolos and the Rocking HandMay 8996
Voicing Workshop: Building Tension In ChordsSep 87112

TechniqueIssuePage
Arpeggios, Part 1Feb 91118
Arpeggios, Part 2Mar 91100
The Art Of Sevenths, Part IDec 89102
The Art Of Sevenths, Part IIJan 90125
Chromatic FigurationJun 8996
Creating Scales: From One, ManyJul 88118
The Expressive OctaveFeb 88120
How To Use Quarter-Tone TuningFeb 8998
The Legato ThirdApr 88101
More Octave Tricks Part IIMar 90101
Playing FifthsSep 8988
Playing Related-Note FiguresJan 88107
Playing Sixths, Part IINov 8993
Polishing The Notes In BetweenJun 88112
Precious SecondsApr 90113
Seconds In Diatonic SettingsMay 9085
Sixths And SenseOct 89101
Some Octave TricksFeb 90105
Split Keyboard TechniquesJan 89118
Thumb Turn Terror, Part IISep 90116
Thumb-Turn TerrorAug 9099
The Trill, Part 1Nov 90103
The Trill, Part 2Jan 91103
Warm-Up ExercisesOct 88103

This document and its contents is copyright young monkey.
It may not be distributed or reproduced in any form without written permission.