SPARTITI PER CHITARRA DI METODI JAZZ

Dunbar Ted, The new approach to jazz guitar.

COREA CHICK, PLAY-ALONG COLLECTION. C instruments. CD

Bud Powell
Captain Marvel
500 Miles High
Litha
The Loop
Mirror, Mirror
Now He Beats The Drum, Now He Stops
(I Can Recall) Spain
Tones For Joan's Bones
Windows

BERKLEE PRACTICE METHOD: GUITAR. BERKLEE METHODS. CD TAB.

by Larry Baione
The first-ever method that teaches you how to play in a rock band. Improve your improvisation, timing, technique, and reading ability, and master your role in the groove. Become the great guitar player that everyone wants to have in their band.

Lessons throughout this book guide you through chord voicings and changes, scales, improvisation techniques, rhythm accompaniments, tablature, and traditional notation. Daily practice routines are designed for practicing by yourself or with other musicians. Developed by the faculty of Berklee College of Music, the accompanying CD features outstanding Berklee players and covers a variety of styles including rock, funk, jazz, blues, swing, and bossa nova. 176 pages.

Topics include:

learning by ear
theory and technique
rhythmic interpretation
improvisation
comping
reading
song form
interpreting lead sheets
This series coordinates methods for many different instruments, and all are based on the same tunes, in the same keys. If you know a bassist, drummer, keyboardist, vocalist, horn player, etc., have them pick up the Berklee Practice Method for their own instrument, and jam together!

About the Author
Larry Baione
BUZZ
"The Practice Method rules! It's a great way to learn riffs, latch onto some basic song structures, and see how tunes are put together. The melodies and the riffs are cool, and you'll work them up in just a couple of run-throughs. This lets you focus on playing in a band, and on creating your own interpretations -heavy rock, jazz, or whatever you want."

- Joe Stump, Shred Guitar Master, Assistant Professor, Berklee College of Music

"An effective way for you to read charts and play along with other musicians in a real-time playing environment. The book will keep your nose in the music and the CD will keep your ears open to the goings-on of the other musicians who are playing. Have fun, practice regularly, and enjoy this fine book."

- Jeff Berlin

"True to the tradition of Berklee College of Music to thoroughly train students to be professional musicians, this method is a great workout. An excellent practice book covering many styles, which will help you learn the necessities of working in the rhythm section creatively."

- Carol Kaye, Bass recording legend, Pioneer in authoring tutors for the electric bass, Educator at the Henry Mancini Institute-UCLA

"A thorough and practical guide with an emphasis on presenting information that will inspire and enable you to begin making music with others right away. All the basics are covered, from a clear presentation of music structure and theory to the dissection and analysis of eight distinct musical styles. An invaluable aid for those interested in filling in the gaps in their knowledge and gaining the tools to help them continue to learn and grow."

- Russell Ferrante, Founding member of Yellowjackets

"Teachers are invaluable, practicing by yourself is critical, but performing in a band is the most valuable experience of all. That's what is so special about this series: it gives you the theory you need, but also prepares you to play in a band. This series will help you master the skills you need to become a creative, expressive, and supportive musician that anyone would want to have in their band."

- Gary Burton, Executive Vice President, Berklee College of Music

COMPLETE FINGERSTYLE JAZZ GUITAR BOOK. ALAN DE MAUSE. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO METODO DI MUSICA JAZZ, CON CD .

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

METODO  

Product Description:
This book is complete in the sense that there is something for everyone: beginners, intermediate players and professionals. Along with learning the basics, this book teaches fingerstyle guitar players to play two-string harmonies, accompaniment styles and much more. Alan De Mause has filled the companion CD to capacity with 90 examples of music from his landmark text. The recording features nylon-string guitar throughout in both solo and midi-accompanied settings. A full range of jazz guitar stylings is offered, starting from square one and proceeding through advanced fingerstyle solo material. 184 PAGES

Format: Book/CD Set
Series: Complete

From the author

INTRODUCTION

Being your own band

The Complete Fingerstyle Guitar Book is divided into three Sections. It is complete in the sense

that there is something for everyone: beginners, intermediate players, and professionals. The sections are related, but not strictly sequential. Both standard notation and guitar tablature are used throughout. If you are not yet a fingerstyle player, welcome to the club. This is the place to learn. Not only will you have a whole new realm of musical possibilities, you will have the experience of plucking the strings directly instead of through the intermediary of a pick. With fingerstyle guitar it is possible to accompany oneself by playing melody, chords and bass simultaneously.

SECTION ONE

Beginning fingerstyle guitar

If you are just beginning to play, Part 1 of Section One is for you. You don't have to know anything about guitar other than the side of the guitar with strings on it should not be resting against your chest. Having a teacher who plays fingerstyle helps too. In this section you will learn how to hold the guitar, use the proper hand and finger positions, and play both open strings and fretted notes. Learning material is set in the context of blues and jazz. By the end of the this section you will have played several blues tunes using your fingers to self-accompany.

SECTION TWO

Creating fingerstyle jazz guitar solos

If you have been playing fingerstyle but had erratic results with trying to arrange solos for yourself, start with this section. The underlying techniques of arranging are presented in workbook-like exercises. After laying basic groundwork you will play completely self-arranged self-accompanied solos. Topics include preparing a fingerstyle jazz solo, working from chord symbols, using a variety of bass accompanying devices, writing notation, using, major and minor thirds, accompanying with arpeggios, harmonizing a melody with thirds, tenths, and sixths. All material in this section is placed below the sixth fret.

SECTION THREE

Professional fingerstyle jazz guitar

Earl Klugh, Ralph Towner, Howard Alden, Tuck Andress, Luiz Bonfa, Ron Eschete, John and Bucky Pizzarelli, Charlie Byrd, George Van Eps, Fred Fried, Ted Greene, Howard Morgen, Joe Pass, Bill Harris, Lenny Breau and many others all.play(ed) wonderful fingerstyle jazz guitar. If you want to join their ranks, this is where you, an advanced player can learn. Topics cover jazz harmonic background, self accompanying, accompanying others, expressive devices of jazz, the cycle of fifths, introductions, endings, turnarounds, tags, modulations, and several full length pieces in the final Section, Fun Jazz

Contents:

SECTION ONE: Getting Started with Fingerstyle Jazz Guitar

INTRODUCTION
Being your own band
About the author
Acknowledgments

SECTION ONE/PART 1: Guitars, hand positions, fingerstyle strokes
Your guitar
Centering the guitar
Naming fingers
Right arm and hand position
Melody playing with the rest stroke
When hammering your nails
Let two fingers do the walking
On the other hand, the left--
Restrain the wayward thumb
May I presume--?
Open strings: E, B, and G
Three notes on open strings
Music, meter, and measures
Three beats per measure
Time signatures: 3/4
Time signatures: 4/4
Four beats per measure
Picking pairs of alternating fingers: m-a
Quarter notes, half notes, and whole notes
Matching right hand fingers with strings
Rematch
Open choice on open strings
Thumbing along freely
E, A, and D
Digging deep
Fingers and thumb
Uppers and lowers
Reader's choice

SECTION ONE/ Part 2: Learning the blues: fretted notes, rests
The old open six
The new fretted two
Left-hand technique
B, E, and some friends
The oldies and the newies
Make a blues sound
Blues background
Go form a blues
A and D complete the blues scale
Picking up notes
E blues scale
Time for a rest
Go and Stop
Stopping an open string from ringing
Damping
Thumb work
Strings 'n things
Accuracy in notation
Something simple
Too simple?
Music in two parts
Rests in two part music
Ties that bind
Not so hard
Try it, you'll like it
Twofers
One more note
Lower ledger lines workout with G
Complete two octave blues scale
Try it two ways
Let it rip blues trip
Sun rhythmics
House of the Rising Sun

SECTION ONE/ Part 3: Rhythming around
Can we talk?
Swimming in rhythm
Find a rhythmic reference
Basic and specific rhythms
Review of whole note, half note, quarter note, and rest equivalents
Take a rest (notes and rests)
Ties that bind
Dots incredible
Equivalent tied and dotted notes
Rhythm in 3/4 time
Two part rhythm
Blues with the whole thing

SECTION ONE/ Part 4: The flow of jazz: Eighth notes
Simple eighths
Counting eighths
Eighth notes and others
Talking to yourself
Mixes bag of note values
Take a rest
Simple ties that bind
Swinging the blues
Doo-ba Doo-ba blues
Eighth notes with mixed rests
Ties in disguise?
Same guise with ties: Eighth-Quarter-Eighth and Tie
Same guys with rests: Half rest-Quarter rest-Eighth rest
The readability factor
Dots and ties incredible
Ties with dotted note equivalents
Dotted quarter notes with eighth notes and eighth note rests
Dot's all in 3/4, folks
Pause to catch your wind and finish up
Rhythmic review
Bop Stop

SECTION ONE/ Part 5: All together, now
Playing to or more strings simultaneously
Two strings and parts, one rhythm, same bass notes
As above, with a variety of bass notes
More note movement
pattern playing
Rhythmic independence in both parts
Independence in 3/4
Blues with a beat
Whompin' the blues
Back to the future
Half note bass
Quarter note bass
Quarter note bass in 3/4 time
Half note plus quarter note in 3/4 time
Refurbishing Twofers
Deja vu: Part 4 review
Slower melody, faster bass
Shuffling Home
It's a wrap!
Further study

SECTION TWO: Creating Fingerstyle Jazz Guitar Solos
SECTION TWO/Part 1: Preparing to create a fingerstyle jazz solo
May I presume--?
Special Note: No TAB or audio here
Selecting a tune
Both melody and chord symbols are on the original sheet music
Lead sheet fragment
It can be played easily as is
It is basically in one key
It is in a good guitar key
It is in a range convenient for adding harmony below the melody
Trial run for tunes
Tune 1
Tune 2
Raising the melody one octave higher
Changing keys by counting steps
TALE OF KEYS (arranged by half step intervals)
You could trace them down
Accidentals
Chord symbols
Tune 2 transposed to D
How high is high enough?
Setting up the tune for arranging
Conventions of notation for fingerstyle guitar
Tune 2 in G, stems up
It's a singer's world
Tune 3 with original piano lead sheet and vocal part
Tune 3 with stems up, eighth notes beamed

SECTION TWO/Part 2: Accompanying yourself
What's next
Adding to this band of one
Rooting for the root
When to change the bass note
Rhythm changes
Two more
Twofers
Bass notes in 3/4 time
Threefers
Making the bass more independent
Rhythm Changes with quarter notes in the bass
Making repetition less repetitious
Variation on four quarter notes
Rhythm Changes with syncopated bass
Alternating octaves
Alternating Octave Blues
When to use which bass rhythm
Getting it down on paper

SECTION TWO/Part 3: Oom-pah power
Root/fifth
Great Scott!
Finding the root/fifth of a scale
Root/fifth of the C major chord
Oom-pah Rhythm Changes
Putting some oomph into the oom-pah
Lowering the oom-pah
The not-so-perfect fifth
Let's all root for the fifth
View of Blues
Your turn

SECTION TWO/Part 4: Marking major and minor
Distinguished notes
Locating thirds using scales
Using the C major scale to locate major thirds
finding minor thirds
Using the C melodic minor scale to locate minor thirds
Absolute measuring: the chromatic scale
The chromatic scale spelled in sharps
The chromatic scale spelled in flats
Juggling thirds
Exercise A
Exercise B
Building chords by stacking thirds
Two plus two
Using major and minor thirds in arranging
Mandatory thirds
Rhythm Changes with thirds
An OK Place to Be
Sequences
Answers to Exercises A and B

SECTION TWO/ Part 5: Accompanying with arpeggios
The Natural
Rhythm Changes with arpeggios
Right-hand fingering
Left-hand fingering
Alternate arpeggiation style
Arpeggio samples
Reality enters
Rhythm Changes with reality
Your turn

SECTION TWO/ Part 6: Harmonizing a melody with a third below
Quick and EZ thirds
Making the top note ring out
Rhythm Changes in thirds
Interval makeup of chord symbols
Perfect matches-- or not
Adjusting the fit
Bringing back the bass
Rhythm Changes in thirds plus bass
Third this blues
Third this blues (completed)
TABLE OF THIRDS

SECTION TWO/ Part 7: Harmonizing with tenths
Tenths: the dropped third
Rhythm Changes with parallel tenths in the bass
Rhythm Changes with mixed intervals
Improvisation on Rhythm Changes
Trippingly, with tenths
Walking tenths
Accompaniment using walking tenths
TABLE OF TENTHS
There's tenthing tonight on the old camp ground

SECTION TWO/ Part 8: Harmonizing with sixths
Another natural
Rhythm Changes déjà vu
Multipurpose sixths
Parallel Me, Baby
Crackers and Muscles
Show Me the Way to Go Sixths
TABLE OF SIXTHS
Crackers and Muscles (completed)
Congratulations!
More is less
Training in A

SECTION THREE: Professional Fingerstyle Jazz Guitar

SECTION THREE/Part 1: Harmonic background
Complete fingerstyle jazz guitar
May I presume--?
Something to play upon
Jazz harmony
Chord qualities
Standard chord voicings
Root position, thirds an octave higher
Root position, thirds and fifths an octave higher
HARMONIC MOVEMENT
Harmonic movement based on scale steps
Diatonic walking tenths
Diatonic walking sixths
Harmonic movement based on the cycle of fifths
Root movement using the cycle
Focusing on fifths
Chromatic harmonic movement
Mixers
Ascending by half step

SECTION THREE/Part 2: Self accompanying
One is company
SINGLE NOTE ACCOMPANIMENT OF MELODY
Root movement
Double bass notes, root movement
Mixes bass rhythms
Repeated figure bass
Root/fifth alternation (simple)
Other alternating bass notes
Non-root movement
Walking bass (diatonic)
Walking bass (chromatic)
Anticipation
Delaying
Folk jazz
More
TWO NOTE ACCOMPANIMENT OF THE MELODY
An abundance of riches
Stomp romp
Alternating bass on hormones
When melody and bass overlap
Oom-pah meets arps
Melody accompanied by tenths in the bass
Autumn Sneeze
Piano movements
Closer voicing
Leading with a two-note comp
Sneezing and comping
More non-root movement
Music in three parts

SECTION THREE/Part 3: Capable accompanist accoutrements
Fingerstyle accompanying
Those other playmates in your sandbox
Accompanying singers
Crush
Guitar and bass comping behind a soloist
Some Day My Prints Will Arrive
Guitar duets
Imagine Nation
Accompanying with one note at a time
My Gummy Valentine
Walking-bass-plus-chord
Bird Adobe Song
Guitar and flute duet
Body and Sole
Guitar and --

SECTION THREE/Part 4: Expressive devices of jazz
Making jazz jazzy
The underlying rhythmic pulse: Quarter note
The feeling of swing
Accented notes on off-beats
Oo-bah oo-bah
Ghosting notes by plucking lightly
Ghosting notes by using slurs
Slides and fall-offs
Bends
Rhythmic displacement
The whole thing
In a Yellow Phone

SECTION THREE/Part 5: Pedaling the cycle of fifths
Why the cycle of fifths is important
Notation conventions
Root movement
V7-I with opposing movement
V7-V7 with mixed movement
V7-I tritone pull
Chords, pieces, and lines
The spread
More tenths
Bassman--the bass, man!
Challenge
Harmony today
Less relentless
Cycled out

SECTION THREE/Part 6: Intros, endings, turnarounds, tags & modulations
Yipes!
An introduction by any other name
The ins and outs of I-V7, V7-I, and IV-I
INTRODUCTIONS
A moving experience
Classic drama
Vamp
II-V7 within one measure
II-V7 over two measures
Purposeful ambiguity
Peaceful, easy feeling
2-in-1 EZ cheap trick
ENDINGS
Cycling to the end
Minor matter
Turnarounds (turnbacks)
Turnaround with modulation
TAGS (Codas)
Tag me if you can
Tag, you're it
MODULATION
Nothing special
Instant modulation: V7-I
Taking time
Back cycling
Smoother moves: II-V7-I
Descending chromatically
Approaching by half step
Mozart's fakeroo

SECTION THREE/Part 7: Fun Jazz
Are we having fun yet?
Blew Moo
Good Evening, Friends
Ain't Miss Bee Haven
Stringing the World Along
Roots in A
Bird Abode Song
3 on 4
Walkdown
Further study

COMPLETE JERRY HAHN METHOD FOR JAZZ GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.

LIBRO METODO DI MUSICA JAZZ CON CD.

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Product Description:
This jazz guitar book is a compilation of three books formerly published as Volume 1 - Scales and Exercises, Volume 2 - Patterns and Solos and Volume 3 - Improvisation Course and Chord Studies. This comprehensive edition covers all of the facets of jazz guitar study including all of the primary scales and arpeggios in five positions. There are several exercises to help increase technical facility including an excellent cross-picking exercise. Also there is a large single line section that includes jazz vocabulary and ideas to be played over certain chords and progressions. Learning and memorizing these single line studies expands the student's improvisational concepts and technique. The chord section includes the primary chord forms found in jazz and contemporary music as well as examples of turn-arounds, variations on twelve bar blues, and modal comping. The harmonized bass line section has four chord studies in a Freddie Green style. The Improvisation Course is a unique systematic approach to teaching improvisation. It consists of four lessons that has the student write out solos (with out an instrument) utilizing certain rules. The material in this book will provide a solid foundation for the aspiring jazz guitar student and has been used as the primary text for the jazz guitar programs at Portland State University and Wichita State University. 176 pages.

Table of Contents

Practicing - Ideas and Suggestions
Fingerboard Chart
Key to Notational Symbols
Picking Technique
Parent Scales and Modes
Exercises - Basic Warm-ups
Blues Scales and Patterns
G Major Scales and Arpeggios in Five Different Positions
G Major Scale - 2nd Position
G Major Scale - 5th Position
G Major Scale - 7th Position
G Major Scale - 9th (10th) Position
G Major Scale - 12th Position
Db Major - 1st Position
Db Major - 3rd (4th) Position
Db Major - 6th Position
Db Major - 8th Position
Db Major - 11th Position
G7 Scales and Arpeggios
G Minor Scales, Arpeggios and Chords
G Melodic Minor
G Lydian
G Lydian Dominant
G Locrian
G Altered Dominant
G Major Extended
C Major Extended
Diminished Scales and Arpeggios
Patterns for Diminished Scales
Whole-Tone Scales and Patterns
Cross-Picking Exercises
Chord Positions for Cross-Picking Exercises
Alternating Picking
Cross Picking Part II
Seventh Position
Alternative Picking Patterns
V7-I Patterns
II7-V7 Patterns
Bmi7b5-E7 Patterns
G Minor Patterns for Improvisation
Polytonal Improvisation
Polytonal Patterns
Pentatonics
Modal Improvisation
D Dorian
Eb Dorian
The Language of Jazz
Jazz Language
Changing Positions
Complete Fingerboard Knowledge - Malachi
Jazz Blues Solo
II-V7-I Cycle
Giant Steps Ahead
All the Things You're Not
Joy Springtime
Rhythm Changes
Comping Rhythm Changes
Titus
Rhythm Changes Solo
Chord Forms
Major
Minor
Dominant Seventh
Chords with Open Strings
Comping
Modal Comping
Twelve Bar Blues
Twelve Bar Progressive Blues
Harmonized Bass Lines
Study #1 in G
Study #2 in C
Study #3 in Bb
Study #4
Chelsea Rose
What a Friend We Have in Jesus
Improvisation - Lesson I
Improvisation - Lesson II
Improvisation - Lesson III
Improvisation -Lesson IV
Solo to "In the Breeze"
Listening
Jerry Hahn

CD Contents
1. Tune up
2. Picking Technique
3. Basic Warm-ups - No. 1
4. Basic Warm-ups - No.2
5. Basic Warm-ups - No.3
6. Blues Scales and Patterns - No. 1
7. Blues Scales and Patterns - No. 2
8. Blues Scales and Patterns - No.3
9. Blues Scales and Patterns - No.4
10. Chord Positions for Cross-Picking Exercise
11. Alternating Picking - No. 1 - 4
12. Alternating Picking - No.5 - 8
13. V7-I Patterns - No. 1 - 4
14. V7-I Patterns - No. 5 - 9
15. V7-I Patterns - No. 10 - 12
16. II7-V7 Patterns - No. 1 - 4
17. II7-V7 Patterns - No. 5 - 8
18. II7-V7 Patterns - No. 9 - 12
19. Bm7b5-E7 Patterns - No. 1 - 4
20. Bm7b5-E7 Patterns - No. 5 - 8
21. Bm7b5-E7 Patterns - No. 9 - 12
22. G Minor Patterns for Improvisation - No. 1 - 4
23. G Minor Patterns for Improvisation - No. 5 - 8
24. G Minor Patterns for Improvisation - No. 9 - 12
25. Polytonal Improvisation Scales and Arpeggios
26. Polytonal Improvisation - No. 1 - 4
27. Polytonal Improvisation - No. 5 - 8
28. Polytonal Improvisation - No. 9 - 12
29. Polytonal Patterns - No. 1
30. Polytonal Patterns - No. 2 and Pentatonics No. 1 - 5
31. Pentatonics - No. 6 - 9
32. Pentatonics - No. 10 - 14
33. Pentatonics - No. 15
34. D Dorian
35. E Donan
36. Jazz Language
37. Changing Positions
38. Complete Fingerboard Knowledge - Malachi
39. Jazz Blues Solo
40. II-V7-I Cycle
41. Giant Steps Ahead
42. Giant Steps Ahead first six measures and 1st and 2nd measures Patterns No. 1 - 4
43. Giant Steps Ahead 1st and 2nd measure Patterns No. 5 - 7
44. Giant Steps Ahead 5th and 6th measure Patterns No. 1 - 5
45. All the Things You're Not -Slow Version
46. All the Things You're Not - Fast Version
47. Joy Springtime - Slow Version
48. Joy Springtime - Fast Version
49. Joy Springtime - Original Version
50. Comping Rhythm Changes - Study # 1
51. Comping Rhythm Changes - Study # 2
52. Titus
53. Rhythm Changes Solo - Slow Version
54. Rhythm Changes Solo - Fast Version
55. Rhythm Changes 1st and 2nd measure Lines 1 - 6
56. Rhythm Changes 1st and 2nd measure Lines 7 - 12
57. Comping - No. 1 - 2
58. Comping - No. 3 - 5
59. Modal Comping - No. 1 - 3
60. Modal Comping - No. 4 - 6
61. Twelve Bar Blues - a and b
62. Twelve Bar Blues - c and d
63. Twelve Bar Blues - e, f and g
64. Twelve Bar Progressive Blues
65. Twelve Bar Progressive Blues Solo
66. Study # 1 in G (Twelve Bar Blues)
67. Study # 2 in C (Twelve Bar Blues)
68. Study # 3 in B (Twelve Bar Blues)
69. Study #4 in A (Donna Lee or Indiana)
70. Chelsea Rose
71. What a Friend We Have in Jesus
72. Improvisation Course Lesson I Solo Example
73. Improvisation Course Lesson II Solo Example
74. Improvisation Course Lesson III Solo Example
75. Improvisation Course Lesson IV Solo Example - In the Breeze