CHITARRA - GUITAR

HOWARD MORGEN, THROUGH CHORD MELODY AND BEYOND. Round Midnight -Li’l Darlin’ -The More I See You -Stardust -Alone Together -Speak Low -It’s Only a Paper Moon -My Funny Valentine -Body and Soul -My Foolish Heart -Nice Work, If You Can Get It. CD-ROM TABLATURE

Questo metodo vi insegna a costruire una melodia suonata con accordi, quali usare e quando, partendo da una semplice canzone. Per ogni titolo sono presentate più versioni.

SOLO JAZZ GUITAR
Howard Morgen: Through Chord Melody & Beyond
A Comprehensive Hands-on Guide to Playing & Arranging Solo Jazz Guitar Based on 11 Classic Standards from the Great American Songbook

By Howard Morgen
Item: 00-29037
UPC: 038081318615
ISBN 10: 0739049844
ISBN 13: 9780739049846

Category: Guitar Method or Supplement
Format: Book & Enhanced CD
Instrument: Guitar

In this definitive work, Howard Morgen demonstrates all the tools, techniques, and concepts to create masterful solo guitar arrangements. This one-of-a-kind book with enhanced CD features 19 full song arrangements based on 11 classic jazz standards, which are immediately applicable for professional usage. The enhanced CD features demonstrations by Howard Morgen and Howard Alden, 6 complete video performances, plus printable PDFs —all accessible from your computer’s CD-ROM drive.

Titles:

Round Midnight * Li’l Darlin’ * The More I See You * Stardust * Alone Together * Speak Low * It’s Only a Paper Moon * My Funny Valentine * Body and Soul * My Foolish Heart * Nice Work, If You Can Get It.

TITLE COMPOSER

My Foolish Heart - Victor Young (composer); Ned Washington (lyricist) - 1949

Speak Low - Kurt Weill (composer); Ogden Nash (lyricist) - 1943 

My Funny Valentine (from "Babes in Arms") - Lorenz Hart (lyricist); Richard Rodgers (composer) - 1937

Nice Work If You Can Get It (from "Damsel in Distress") - George Gershwin (composer); Ira Gershwin (lyricist) - 1937  

The More I See You (from "Billy Rose's Diamond Horseshoe") - Harry Warren (composer); Mack Gordon (lyricist) - 1945

It's Only a Paper Moon - Harold Arlen (composer); E. Y. Harburg (lyricist); Billy Rose (lyricist) - 1933

StarDust - Hoagy Carmichael (composer); Mitchell Parish (lyricist) - 1929

'Round Midnight - Thelonious Monk (composer); Bernard D. Hanighen (composer); Cootie Williams (composer) - 1944

Li'l Darlin' - Neal Hefti (composer) - 1958 

The More I See You (from "Billy Rose's Diamond Horseshoe") - Harry Warren (composer); Mack Gordon (lyricist) 1945

StarDust - Hoagy Carmichael (composer); Mitchell Parish (lyricist) - 1929

Alone Together - Arthur Schwartz (composer); Howard Dietz (lyricist) - 1932

My Foolish Heart - Victor Young (composer); Ned Washington (lyricist) - 1949

Body and Soul - Robert Sour (lyricist); Edward Heyman (lyricist); Frank Eyton (lyricist); John Green (composer) - 1930

'Round Midnight - Thelonious Monk (composer); Bernard D. Hanighen (composer); Cootie Williams (composer) - 1944

Body and Soul - Robert Sour (lyricist); Edward Heyman (lyricist); Frank Eyton (lyricist); John Green (composer) - 1930

Alone Together - Arthur Schwartz (composer); Howard Dietz (lyricist) - 1932

It's Only a Paper Moon - Harold Arlen (composer); E. Y. Harburg (lyricist); Billy Rose (lyricist) - 1933

Li'l Darlin' - Neal Hefti (composer) - 1958

Speak Low - Kurt Weill (composer); Ogden Nash (lyricist) - 1943

My Funny Valentine - Lorenz Hart (lyricist); Richard Rodgers (composer) - 1937

Nice Work If You Can Get It (from "Damsel in Distress") - George Gershwin (composer); Ira Gershwin (lyricist) 

Howard Morgen, guitarist, clinician, and arranger, has written fingerstyle jazz guitar columns and arrangements for Guitar Player, Guitar World, Acoustic Guitar, and Fingerstyle Guitar. His spectacular solo guitar CD, Howard Morgen Plays Gershwin, has won wide critical acclaim, and Howard is currently a columnist for just jazz Guitar magazine. In addition, Howard is the author of The Gershwin Collection for Solo Guitar, The Ellington Collection for Solo Guitar, Tenfrom Guitar Player, Solo Guitar Insights, Fingerstyle Favorites, Concepts, and Preparations (all available from Alfred Publishing); Paul Simon for Fingerstyle jazz Guitar (Amsco Pub.); and Fingerstyle jazz Images for Christmas (Mel Bay). Howard has been a guest artist and instructor at the National Guitar Summer Workshop in Connecticut and has been a faculty member at the Manhattan School of Music, the Guitar Study Center of the New School in Manhattan, and the Jazz Studies Program at the C.W Post Campus of Long Island University. Among Howard's students over recent years are singer-songwriter Paul Simon, Edie Brickel, Carly Simon, and Christine Lavin. His bio is included in Maurice Summerfield's The jazz Guitar, Its Players and Personalities Since 1900.
 

Note from the Author

You're an intermediate level player or beyond. You play in a band or you play alone for your own enjoyment. You love to listen to and, on occasion, have played through guitar arrangements featured in specialty magazines and folios. You'd even love to arrange a few tunes yourself. .. If you fit into any of these categories, chances are you already know enough to start creating your own arrangements and, what you don't know, you can pick up along the way. What you need are step-by-step procedures that help you get started and successful experiences with the arranging process that will give you the confidence to keep going. You'll also need to experience these procedures first hand, so, wherever possible, I've given you that hands-on opportunity. Over the years, my goal has always been to produce books, articles, and arrangements that suggest approaches for creating one's own arrangements. For a solo performer in the jazz idiom, that's where the art is. Some of the topics that are introduced in this book have never before appeared in any of my previous work while other topics that have appeared before are now revealed in a new context and with a new focus. Through Chord-Melody and Beyond is a summary and synthesis of much of what I have learned about arranging for guitar and it is my hope that it will prove to be a valuable contribution to your musical progress and development. Howard Morgen

Introduction

This book is intended for intermediate to advanced players as an overview, guide, and sourcebook. It is written in two parts and contains both standard notation and TAB. Plus, note-for-note performances are included on the companion CD. Playing solo guitar, like playing solo piano, means self-accompaniment. Part 1 (Chapters 1-5) focuses on five jazz-oriented approaches to self-accompaniment:

• chord-melody style

• chord-melody derivations

• camping below a single melody line

• comping above a single melody line

• walking bass lines

Part 2 (Chapters 6-14) is devoted to supplying the theoretical information, harmonic concepts, thought processes, and techniques that are the essential underpinnings of all successful arrangements. Throughout the book, 11 classic jazz standards from Alfred's just jazz Real Book are employed as examples and exercises and as complete, fully developed arrangements demonstrating the entire range of topics presented. At the end of each chapter, you will find a "Guide List" that references topically related works of other authors that will supply you with additional information, perspectives, and insights. 

Contents:

Note from the Author .

Introduction .

Some Suggestions for Approaching the Material. .

About the Songs .

Important Information for Notation Non-Readers .

PART 1: Approaches to Self-Accompaniment for Solo Jazz Guitar .

Chapter 1: Chord-Melody Style .

Setting Up a Chord-Melody Style Arrangement .

Chord-Melody Exercises la-Ie .

"Li'l Darlin'" .

"Stardust" (Version I) .

Chapter 2: Chord-Melody Derivations .

Jazz Fingerstyle Technique .

Five Fingerstyle Applications for

Vertical Chord Structures .

Preliminary Exercises for the Plucking Hand .

Examples 8-11 (Chord-Melody Derivations) .

"The More I See You" (Version I) .

Chapter 3: Comping Below a Melody Part .

Chord Fragments .

Examples 12 and 13 .

Interval Shapes .

Visualizing Interval Shape Placement .

Choosing the String Set .

Visualizing Interval Shapes Across String Sets .

Comping on String Sets 4-3 and 5-4 with Tritone, Perfect 4th,

and Perfect 5th Shapes ("Speak Low" Excerpt) .

"Nice Work If You Can Get It" .

Chapter 4: Sounding the Melody in the Bass .

Exercises for Developing Independence Between

Thumb and Fingers .

Setting Up an Arrangement .

"The More I See You" (Version 2) .

Chapter 5: The Walking Bass Line .

Components of a Walking Bass Line .

How Chord Tones, Passing Tones, and Neighbor Tones Function

in a Walking Bass Line .

Four Suggestions for Building Melodically Interesting

Walking Bass Lines .

"It's Only a Paper Moon" (Worksheet) .

"It's Only a Paper Moon" (Version I) .

PART 2: Theoretical Information, Harmonic Concepts,

Thought Processes, and Techniques .

Chapter 6: Terminology .

Chord Construction .

Chord Embellishment. .

Chord Voicing .

Voice Leading .

Chords of Omission .

Chord Inversion .

"Speak Low" (Version 1) .

Chapter 7: Chord Voicing Formulas and Insights .

Four Chord Voicing Formulas with Corresponding String Sets .

Open Voicing Formulas .

(V) indicates that a video performance by Howard Morgen is available on your enhanced CD

The Drop 2 Formula .

The Drop 3 Formula .

The Drop 2 and 4 Formula .

Chord Voicing Worksheets .

Creative Touches for Chord Voicing .

"Alone Together" (Version I) .

Chapter 8: All About Chord Symbols .

How to Crack the Code .

Seven Approaches for Finding the Differences Between

Chord Symbols .

Approach I: Spell Out and Compare Adjacent Chord Symbols .

Approach II: Look for Adjacent Chord Symbols with Common

Tone Roots .

Approach III: Look for Diatonic and Chromatic Chord Progressions .

Approach IV: Look for Cycle Patterns .

Approach V: Look for Line-Dependent Patterns .

Approach VI: Look for on Line-Dependent Patterns .

Approach VII: Look for Adjacent Chord Shapes .

"My Funny Valentine" (Version I) .

"Body and Soul" (Version 1) .

Chapter 9: Chord Substitution and Chord Addition .

Tritone Substitution (TT): The "b5" Principle .

Substitution of Minor 7th Chord for a Dominant 7th

Substitution with Relative Major and Minor Chords .

Chromatic Approach Chords .

Melodic Common Tone Substitution .

Chord Addition .

Backcycling .

"My Foolish Heart" .

Chapter 10: Natural Harmonics .

How to Produce Natural Harmonics .

Plucking-Hand Harmonic Technique .

'' 'Round Midnight" .

Chapter 11: Artificial Harmonics .

Plucking-Hand Harmonic Technique to Produce

Artificial Harmonics .

Combining Natural and Artificial Harmonics with Regular Tones .

"Speak Low" (Version 2) .

Chapter 12: Drop D Thning .

"My Funny Valentine" (Version 2) .

"My Funny Valentine" (Optional Ending as Recorded) .

"Alone Together" (Version 2) .

Chapter 13: Choosing a Key for Your Arrangement .

''Guitar Friendly" Keys .

Functions for Open Strings in Guitar Friendly Keys .

"Stardust" (Version 2) .

Alternative Keys vs. Original Keys .

"Body and Soul" (Version 2) .

Chapter 14: Changing Keys (Modulation) .

Transition Chord Sequences .

Modulation Exercises .

Three Exercises Modulating to Temporary Tonic .

"The More I See You" (Version 3) .

-It' Only a Paper Moon": Preparatory Exercises .

"It's Only a Paper Moon" (Version 2) .

APPENDIX 1: Master Guide List .

APPENDIX 2: Finger (Ie pplications .

Note: All 19 full song arrangiaments are available as printable PDFs on your enchanced CD

REINHARDT DJANGO, IMPROVISATIONS 1935-1949. Incisioni originali. SHEET MUSCI BOOK WITH CD & GUITAR TABLATURE. 

TRANSCRIPTIONS pour GUITARE de ROMANE & DEREK SéBASTIAN

BLUE DRAG
Enregistrée en avril 1935
Sur ce 32 AABA, le thème mélodique est exposé par le violon, la guitare de Django intervenant
sous forme de contre-chant. Le maître produit ensuite un solo dynamique et virtuose
(cf. mesure 43) qui comprend nombre de torsions de cordes, manouches et bluesy, ainsi que
des octaves puissamment marquées. Notez aussi que l'introduction est utilisée comme coda
de fin, à l'issue d'un exposé final qui reprend la section A seulement.

IMPROVISATION 2
Enregistrée le 10 septembre 1938

A l'écoute, la première version d'Improvisation 2 ayant manifestement servi à Django de« mise en
doigts », nous avons choisi de transcrire la version B, identique, à cette différence que les thèmes y
sont développés, les idées abouties. Cette« pièce » se compose d'arpèges et de modulations qui
ne sont pas sans rappeler certaines oeuvres de Claude Debussy. On y trouve aussi, dans le pont et la
coda, d'étranges phrasés« shuffle ». A la toute fin, observez le désaccordage en ré grave de la sixième
corde ... désaccord age d'autant plus surprenant qu'on n'entend absolument pas Django l'opérer,
même en tendant l'oreille au maximum - un pur mystère !

IMPROVISATION 3
Enregistrées le 26 février 1943

Là, quoique l'une et l'autre reposent sur les mêmes ingrédients - tonalité mineure,
arpèges -, ces deux versions sont dignes d'intérêt. La première, au tempo assez rapide,
présente une structure AABACA, une coda qui reprend l'intro et une fort belle modulation
terminale. La seconde version, plus assise question tempo, est dépourvue
d'intro et de section C ; et l'on trouve dans la section B des passages mélodiques
virtuoses. L'accord final y est majeur.

IMPROVISATION 4
Enregistrée en février 1949
Courte et sur tempo lent, faisant peu appel à la technique et beaucoup aux cordes à vide, cette improvisation est plus facile à étudier. Elle est faite d'une abondante suite d'accords roulés, entrecoupés de quelques arpèges, tout ceci en forme métrique de type AABA.

IMPROVISATION 5
Enregistrée le 21novembre 1947
A l'inverse de la précédente, l'Improvisation 5 est ardue sur le plan technique. C'est une suite d'arpèges et d'accords, rehaussés de traits mélodiques virtuoses dont la couleur rappelle volontiers la musique flamenca (cf. partie terminale). Par ailleurs, il convient d'observer que cette improvisation a sans doute servi d'inspiration au pianiste John Lewis pour composer son thème Django .

Improvisation 6
Enregistrée le 1er décembre 1945
Difficile également sur le plan technique, reposant sur les mêmes ingrédients que la précédente - arpèges, accords roulés, traits mélodiques - l'Improvisation 6 n'offre cependant pas, à notre sens, de développements aussi maîtrisés. En cela, c'est une véritable improvisation au sens propre du terme. Elle contient cependant de remarquables passages en cadences d'accords et fait usage, elle aussi, de colorations mélodiques hispanisantes.

VALSE MANOUCHE
Enregistrée par la BBCen 1935
Enfin, voici une valse jouée en duo piano/guitare, dont le guitariste est très probablement Django, alors aux tout premiers moments de sa carrière. De forme métrique 112 AABA, cette valse séduisante présente une étrange cadence sur les sections A (mesures 13-16),dans lesquelles Django produit une montée chromatique très reconnaissable de son style. Est également reconnaissable le choix de certaines harmonies du pont, très hardies pour l'époque, à caractère hispanisant, des accords parfaits majeurs placés sur une note de pédale.

- Blue drag

- 6 improvvisazioni

- valse manouche. 

SWING, GUITAR ROOTS. BOOK WITH CD & GUITAR TABLATURE

LIBRO METODO DI MUSICA JAZZ SWING, CON CD. 

SPARTITI PER CHITARRA CON: 

NOTE, PENTAGRAMMA, GRIGLIA DEGLI ACCORDI, TABLATURE. 

METODO, MANUALE, STUDIO, DIDATTICO, 

By Paul Howard
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

The ultimate starter book for players looking to learn the classic guitar style that's once again so popular. Learn swing progressions and forms, as well as how to construct a swing guitar solo, and so much more. This is the only book ever needed to get swingin' right away!

Acoustic guitar magazine, SWING GUITAR ESSENTIALS. 90 Fraseggi, accordi fondamentali, la melodia, lo stile ritmico di Freddie Green e la big-band, Texas swing, Minor swing di Reinhardt, Avalon e altri 3 titoli. CD TABLATURE

LIBRO METODO DI MUSICA SWING, CON CD. 

SPARTITI PER CHITARRA :

ACCORDI, PENTAGRAMMA E TABLATURE.  

Acoustic Guitar Private Lessons Series
Series: Guitar Educational
Publisher: String Letter Publishing
Softcover with CD - TAB
Author: Various Authors

This comprehensive book/CD pack includes 5 full songs (including Minor Swing and Avalon) and 10 in-depth lessons for players of all levels, taught and recorded (slowly and up to tempo) by the master teachers at Acoustic Guitar magazine. It introduces guitarists to swing's essential styles and pioneering players from Eddie Lang to Count Basie's rhythm master Freddie Green to Hot Club virtuoso Django Reinhardt, and covers topics such as jazz chord basics, movable chord forms, swing soloing, and more. Instructors include Dix Bruce, Hal Glatzer, David Hamburger, John Jorgenson, John Lehmann-Haupt, Tony Marcus, Scott Nygaard and Michael Simmons.

Avalon
Been There, Dunn That Blues
Dominant Seven Swing
Leather Britches
Minor Swing

80 pages

WESTERN SWING GUITAR STYLE. Joe Carr. La parola swing deriva dal verbo dondare, e in musica, è quel senso di oscillazione della parte ritmica, con accenti, anticipi, pause, ritardi, note staccate, e questo benchè il ritmo sia costante e uniforme. 40 accompagnamenti ritmici completi, con griglia degli accordi nello stile swing anni '30 '40 del musicista Bob Wills. SHEET MUSIC BOOK CD with GUITAR TABLATURE .

LIBRO DI MUSICA WESTERN SWING CON CD.

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLTURE. 

Product Description:
If you have ever heard the sound of rhythm guitar in a good western swing band, you may have wondered how the guitarist achieved that unique chordal sound. While the song might be a simple one--playable with only two or three chords--the western swing guitarist changes chords every two beats, providing a driving and harmonically interesting background for the singers and instrumentalists. This book is designed for intermediate players who have a basic understanding of open chords. It begins with study of the Texas fiddle back-up style and the chords used to enhance this music. The chords and progressions explained in this book can be used in many types of music in addition to western swing and would serve as an excellent transition from open-string folk chords to more of a jazz approach.

Format: Book/CD Set
Series: Texas Music and Video

If you have ever heard the sound of rhythm guitar in a good western swing band, you may have wondered what the guitarist was doing. While the song might be a simple one with only two or three chords, the guitarist changes chords every two beats, providing a driving and harmonically interesting background for the singers and instrumentalists. This book is designed for intermediate players who have a basic understanding of open chords. An accompanying video "Western Swing Guitar Styles, Volumes One and Two" which includes much of the material contained here, is available from Mel Bay Publications. The chords and progressions explained here can be used in many types of music in addition to western swing. The guitar style fits especially well with swing music of any type from the 1930's and 1940's. If you haven't heard this style before, check out recordings by Bob Wills, Asleep at the Wheel and Johnny Gimble. Many of these recordings feature the great Eldon Shamblin, Bob Wills' longtime guitarist and the undisputed master of this styIe. Wewill begin our study with what has been called the Texas fiddle backup style. The beginnings of this style are unclear, but it is my opinion that it was started by guitarists who heard and tried to copy the sound of Eldon Shamblin on the early Bob Wills records of the 1930's. Recordings of Texas fiddlers in the 1920's feature rhythm guitars played in the bass-strum pattern - the same pattern found on early recordings of southern Appalachian fiddlers. It is not until after Shamblin's first recording with Bob Wills in the mid 1930's that we hear the style on Texas fiddle records. Special thanks go to Slim Richey, Alan Munde, John Hartin, Buster Redwine and Kim Fagerstrom for their help in my understanding of swing rhythm and the development of this project. Western Swing guitar music was originally played on the large hollow body electric F-hole guitars of the 1930' sand 1940' s. The guitarists used medium or heavier gauge strings. In recent times, most players, including Eldon Shamblin, use solid body electrics which are easier to carry around, more versatile and are less prone to feedback. The neck position pickup is used to get a fatter, more mellow rhythm sound. If you play several styles, you can still get a good swing rhythm with light stings. Some players, including me, beef up the bass strings in a light set to help strengthen the rhythm sound. I use a set that is .10, .12, .16, .30, .40, .50. This allows me to bend strings on the lead pickup on twangy country music and still gets a good swing sound on the neck position. In the 1920's and 1930's, players like Eddie Lang, Django Reinhardt and Karl Farrrecorded swing music using acoustic guitars. Acoustic swing music is enjoying a surge of popularity today. Almost any type acoustic guitar will do and many players prefer medium strings for good tone and volume. Providing good swing rhythm on acoustic guitar is hard work and takes strong muscles and well-developed calluses on the fingertips. At Texas style fiddle contests across the nation, you will notice many guitarists with Gibson acoustic guitars. Their preference for this brand is similar to Bluegrass musicians' preference for Martins. Also unique to these musicians is their use of steel wrapped stings as opposed to the more common bronze wrapped strings used by most acoustic guitarists. Warning: DO NOT enter a jam session with a group of serious Texas Fiddlers with any of the following instruments: 12 string guitar, 5 string banjo, harmonica, autoharp. You may never be seen or heard of again!

Song Title: Composer/Source:

Ballad (:39) Arr. By: Joe Carr
Beaumont Rag (:37) Arr. By: Joe Carr
Blues (1:01) Arr. By: Joe Carr
Columbus Stockade Blues (1:07) Arr. By: Joe Carr
Corrina (:29) Arr. By: Joe Carr
Cowtown (:32) Arr. By: Joe Carr
Durang's Hornpipe (:26) Arr. By: Joe Carr
Dusty Miller (:29) Arr. By: Joe Carr
Ida Red (:26) Arr. By: Joe Carr
Kind Of Love (:38) Arr. By: Joe Carr
Leather Britches (:28) Arr. By: Joe Carr
Lily (1:09) Arr. By: Joe Carr
Pipeline (:38) Arr. By: Joe Carr
Sally Goodin 1,2,3 (:37) Arr. By: Joe Carr
Sally Goodin 4 (:28) Arr. By: Joe Carr
Sally Johnson (:28) Arr. By: Joe Carr
San Antonio Rag (:35) Arr. By: Joe Carr
South (1:06) Arr. By: Joe Carr
Sugar (1:03) Arr. By: Joe Carr
Time/Just A Closer (:36) Arr. By: Joe Carr
Wesphalia Waltz (:54) Arr. By: Joe Carr