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
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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
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