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BOOK CONTENTS DEDICATION, ACKNOWLEDGMENTS & AUTHOR BIOGRAPHY INTRODUCTION PURPOSE PREREQUISITES HISTORICAL AND PHILOSOPHICAL BACKGROUND NEED FORMAT: H0W TO USE THIS BOOK HOW TO USE THE ACCOMPANYING COMPACT DISC GOALS AND APPROACHES Rhythm- oriented approaches Harmony-oriented approaches Melody-oriented approaches Combined approaches IDENTIFYING PROBLEMS Playing wrong harmony Playing wrong rhythm Excessive density Redundancy General Ensemble Solutions GENERAL CONSIDERATIONS FOR IMPROVISING CELTIC BACKUP Specifics Essential concepts Attention Vocabulary Flexibility Variation Essential skills Physical skills Theoretical skills Aural skills ESSENTIAL PARAMETERS FOR ACCOMPANIMENT Density & Texture, Rhythm & Dynamics, Harmony, and Gesture I. Density & Texture II. Rhythm & Dynamics III. I Harmony IV. Gesture PRACTICING IMPROVISED ACCOMPANIMENT THE 15-POINT PLAN EXERCISE FOR APPLYING THE 15-POINT PLAN UNDERSTANDING CELTIC HARMONY Goal DERIVING ALL CHORDS IN IONIAN MIXOLYDIAN, DORIAN AND AEOLIAN HEARING CELTIC HARMONY Goals NECESSARY SKILLS DEVELOPING NECESSARY SKILLS SOME HARMONIC IDIOSYNCRASIES Shifting Tonal Center Shifting accidentals IDIOMATIC INTONATION HARMONIC VARIATION AND SUBSTITUTION IMPROVISING COUNTERPOINT PLAYING CELTIC RHYTHM SUBTLE RHYTHMIC DISTINCTIONS Between tune types Idiomatic Pulse BONUS SECTION: LEARNING TUNES BY EAR Why do it? How to do it? STAGES OF LEARNING BY EAR I. Recognition II. Replication COMMON QUESTIONS ABOUT LEARNING BY EAR Appendix I: REFERENCE CHARTS: THE CHORDAL REPERTOIRE OF CELTIC MUSIC Appendix II: NOTATION, HARMONIZATIONS AND LISTENING NOTES Appendix III: RECOMMENDED LISTENING
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