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	<title>Javier Arau &#187; Lesson Plans</title>
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	<description>composer, performer, educator</description>
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		<title>Giant Steps Exercises 1 &#8211; Augmented Scale Theory</title>
		<link>http://www.javierarau.com/?p=721</link>
		<comments>http://www.javierarau.com/?p=721#comments</comments>
		<pubDate>Mon, 28 Dec 2009 22:40:53 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Augmented Scale Theory]]></category>
		<category><![CDATA[Lesson Plans]]></category>

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		<description><![CDATA[These exercises assume the reader has already checked the introductory paper on Augmented Scale Theory.  If you have not read the paper,  feel free to do so here.    If you are ready to start with the exercises, go for it!  I have also included this set of Giant Steps [...]]]></description>
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		<title>Augmented Scale Theory Exercises 1</title>
		<link>http://www.javierarau.com/?p=665</link>
		<comments>http://www.javierarau.com/?p=665#comments</comments>
		<pubDate>Fri, 31 Jul 2009 19:40:28 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Augmented Scale Theory]]></category>
		<category><![CDATA[Lesson Plans]]></category>
		<category><![CDATA[1]]></category>
		<category><![CDATA[Augmented]]></category>
		<category><![CDATA[Exercises]]></category>
		<category><![CDATA[Scale]]></category>
		<category><![CDATA[Theory]]></category>

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		<description><![CDATA[Here are some Augmented Scale Theory exercises, for those who are looking for more application and insight into Augmented Scale Theory.  These exercises relate to linear development when using scale fragments based on fundamental concepts in Augmented Scale Theory.  ]]></description>
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		<title>Major Triads Warmup Exercise</title>
		<link>http://www.javierarau.com/?p=342</link>
		<comments>http://www.javierarau.com/?p=342#comments</comments>
		<pubDate>Sun, 31 May 2009 06:11:15 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>

		<guid isPermaLink="false">http://javierarau.com/wordpress/?p=342</guid>
		<description><![CDATA[This exercise works every major triad, including all inversions in every key. It is most effective when played slowly.]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>Major Scale Tips and Tricks</title>
		<link>http://www.javierarau.com/?p=322</link>
		<comments>http://www.javierarau.com/?p=322#comments</comments>
		<pubDate>Sun, 31 May 2009 04:12:06 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>
		<category><![CDATA[Videos]]></category>

		<guid isPermaLink="false">http://javierarau.com/wordpress/?p=322</guid>
		<description><![CDATA[Learn a very fast way to master all 12 major scales.

]]></description>
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		<title>Anatomy of a Melody, Part 3</title>
		<link>http://www.javierarau.com/?p=185</link>
		<comments>http://www.javierarau.com/?p=185#comments</comments>
		<pubDate>Thu, 21 May 2009 16:49:57 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>

		<guid isPermaLink="false">http://javierarau.com/wordpress/?p=185</guid>
		<description><![CDATA[Gaining melodic independence over a II-V-I progression &#8212; One of the challenges in improvising over a basic II-V-I chord progression is keeping a solo sounding unpredictable and engaging. Maintaining a focus only on chord tones can often lead to a very satisfying melody, but such an approach can begin to sound uninspired, predictable, and a bit tedious. Chord tone consonances within a melodic line can always be balanced with a focus on non-chord tone dissonances. Breaking free of chord tone dependency can be achieved by attaining a deeper understanding of tension and release within the II-V-I progression. The end result is a "melodic independence" and freedom to create a line as dissonant or consonant as you desire.]]></description>
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		<title>Anatomy of a Melody, Part 2</title>
		<link>http://www.javierarau.com/?p=180</link>
		<comments>http://www.javierarau.com/?p=180#comments</comments>
		<pubDate>Thu, 21 May 2009 16:43:33 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>

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		<description><![CDATA[Learning chordal dependence over a II-V-I chord progression &#8212; One of the fundamental challenges of improvising over a basic II-V-I chord progression is knowing how to move smoothly from one chord to another, matching each new chord in the cycle. This may be achieved by maintaining a steady focus on chord tones, which tend to change with each new chord. This focus on chord tones is called "chordal dependence," and the resulting melody can be quite consonant and strikingly beautiful.]]></description>
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		<title>Anatomy of a Melody, Part 1</title>
		<link>http://www.javierarau.com/?p=143</link>
		<comments>http://www.javierarau.com/?p=143#comments</comments>
		<pubDate>Wed, 21 May 2008 00:17:05 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>

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		<description><![CDATA[Using balance to create a successful melodic line &#8212; You are given a chord and a matching scale and told, "Now go improvise!" You begin to play and just cannot seem to express anything remotely satisfying. You figure maybe your ear is no good, or maybe you just don't have what it takes to be a good improviser. Sound familiar? Don't lose hope just yet! Improvising using chords and scales gets easier if you take some time to examine what really makes a solid melody. The key to crafting a successful melody lies in understanding one simple concept: balance.]]></description>
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		<title>4-Step Practice Guide</title>
		<link>http://www.javierarau.com/?p=359</link>
		<comments>http://www.javierarau.com/?p=359#comments</comments>
		<pubDate>Thu, 31 May 2001 06:52:55 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>

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		<description><![CDATA[Step 1: Divide the song into smaller sections.
Step 2: Practice and learn each section, one at a time.
Step 3: Combine sections, two at a time.
Step 4: Practice the whole song.]]></description>
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		<title>How to Practice: A Summary</title>
		<link>http://www.javierarau.com/?p=354</link>
		<comments>http://www.javierarau.com/?p=354#comments</comments>
		<pubDate>Thu, 31 May 2001 06:46:44 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>

		<guid isPermaLink="false">http://javierarau.com/wordpress/?p=354</guid>
		<description><![CDATA[DECIDE which parts you play well and which parts still need work.
PRACTICE the PROBLEM SPOTS the most.
Work on ONE PROBLEM AT A TIME.
Practice smaller PHRASES, one at a time.
SLOW DOWN.
Decide on the BEAT before you start playing.
COUNT THE BEAT out loud.
Keep a STEADY BEAT.  Pretend you are in a parade.
ZOOM IN and fix problem [...]]]></description>
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		<title>How to Practice Effectively and Learn That Song!</title>
		<link>http://www.javierarau.com/?p=352</link>
		<comments>http://www.javierarau.com/?p=352#comments</comments>
		<pubDate>Thu, 31 May 2001 06:45:10 +0000</pubDate>
		<dc:creator>Javier Arau</dc:creator>
				<category><![CDATA[Lesson Plans]]></category>

		<guid isPermaLink="false">http://javierarau.com/wordpress/?p=352</guid>
		<description><![CDATA[The time you spend with your piano teacher can be really fun and exciting. You get to learn new songs and a whole lot of other details about music making. The time you spend away from your teacher -- your practice time -- can be just as inspiring. Practicing gives you a chance to learn your assignments and to have fun on your own with your piano. I think it is exciting to approach each new song in the same way that you would approach a crossword puzzle or word search: approach it as a challenge. The great thing about learning the piano is that each new song you learn can make you an even better piano player. Your goal with every piece you practice should be to perform the piece confidently, correctly, and with feeling. The song should be played with accurate rhythms, correct fingerings, and not only the right notes, but with a clear knowledge and recognition of what letter each note on the page receives.]]></description>
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