MEL BAY

MARTIN JUAN, PLAY SOLO FLAMENCO GUITAR VOL.2. CD DVD TABLATURE

LIBRO DI MUSICA CON CD E DVD, SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE. 

SOLO FLAMENCOS TOMO VOL. 2

Progressively graded for intermediate and more advanced GRADES 6 - 8

This second volume, of a two-part series, contains a book, CD and DVD by internationally recognized flamenco guitarist, Juan Martin. Provided are more than 21 solos, progressively graded in the three higher grades, 6 to 8, to suit players at intermediate and more advanced stages, who already have some experience of the instrument and techniques of flamenco. The music for all these is accurately written in notation and flamenco tab (cifra) and (except for the two final solos) is also included on the companion CD. The DVD contains over 60 minutes of music. All text is provided in both English and Spanish.
 

INTRODUCTION

Welcome to the second volume of Solos Flamencos!

I hope you will find it meets your needs for more technically demanding music which can help you to feel that you are really beginning to master the challenges of the solo flamenco guitar. The tremendous success of the first volume has greatly encouraged us in the preparation of this second volume. Messages of appreciation from players in all parts of the world have brought us great pleasure and satisfaction. The main content of this volume follows the format of the first volume, with seven solos demonstrated at each of the grades 6 - 8. In addition there are four recorded extras on the CD and DVD; these consist of two brief sequences of Solea, a Garrotin (an easier solo which could help you to get started) and more falsetas for Bulerias. Finally, as a further extra in the book, there are two of my solo compositions presented only in music notation and cifra tablature, which are not demonstrated on the CD or the DVD. There is a separate introduction and explanation for these. It is not always easy to rate music at the higher grades in terms of its relative difficulty but I hope you will recognise a progressive trend as you advance from Grade 6 to Grade 8. Many factors are relevant to the grading (with which not all players will be able to agree), but I have taken into account not only considerations of technical difficulty and speed, but also those more fundamental considerations of musical expressiveness, summed up in the two fundamental concepts of compas and aire. The player should aim for an interpretation in which the difficulty of the solo is not apparent to the listener - what matters, of course, is whether it is musically satisfying and whether it can move the emotions. Technical skill is always only a means to an end. Certainly there are occasions when the bravura of a virtuoso technique is absolutely right, especially in the lighter styles (Rumbas, Bulerias, etc.). Even so, the good flamenco guitarist always tries to play with expressive aire and, if it's possible, with that magical spirit of duende, rather than exciting the audience just because he or she can. What I am aiming for here is music for the player whose technical skills are developing to the point where the basic elements are assured. For this reason I have not included the lists of technical requirements at each grade level which are a feature of Volume 1. There are new techniques introduced in the solos but most of the basic elements are illustrated in that volume. At this level, the choice of music continues further the approach adopted previously. I have included here my own compositions and also fundamental elements and solos that pay homage to the great masters of the recent past, particularly Sabicas and Nino Ricardo. Following Ramon Montoya, these two giants of the art were largely responsible for the establishment of the flamenco guitar as a solo instrument, and the value of their genius cannot be overstated. Both of them were exceptionally creative in their melodic and rhythmic originality. I also acknowledge, particularly in a solo Bulerias that evokes the impetuous aire of his first recordings, the incomparable contribution of Paco de Lucia. Today the flamenco guitar embraces other musical traditions such as jazz and pop music, and you will want to discover and pursue your own creative pathway and musical tastes. The aim of these two volumes is to help you establish a solid foundation in the art of flamenco solo playing which acknowledges the history of its evolution and the possibilities for further development and exploration that will take it still further. For me, the flamenco guitar is both a melodic and a percussive instrument, capable of intense beauty of sound and also of powerfully exciting rhythmic drive. Its music arises within a broader and still evolving tradition of flamenco artistry, a unique cultural heritage comprising the cante, the baile and the guitar. A basis of rasgueo rhythm in palos a compas is the uniquely flamenco heart-beat of the music which gives its pulsation and structure. If this is ignored or relegated to insignificance, and the music lacks strong melodic themes intensified by the amazingly expressive sounds of the guitar, I think flamenco guitar-playing can be in danger of deteriorating into aimless and unmusical doodlings or empty technical dazzle. But this is my philosophy and you will want to develop your own! I hope these volumes can help and direct you towards achieving your goals. iViva el arte - y vamos a tocar!

Contents:

Grade 6
La Cana --
Farruca --
Colombianas --
2 Sevillanas --
Sevillana II --
Bulerias (de Sabicas) --
Granadinas (Lorca's Dream) --
Garrotin (Noche de San Juan) --

Grade 7

Solea --
Seguiriya y Cabales --
Bulerias (de Paco) --
Tarantas --
Milonga (del Recuerdo) --
Tangos --
Zambra Mora --

Grade 8

Solea (de Ricardo) --
3 Sevillanas (Sevillana 1) --
Sevillana 2 --
Sevillana 3 --
Solea por medio (Esencia) --
Rondena -- Aurora
Rumba (Rumba nostalgica) --
Serranas (de Ricardo) --
Bulerias (con metronomo) --

Solea A (Another falseta Orta falseta) --
Solea B -- Ritmo Falseta 
Garrotin -- de Sabicas
Bulerias (Ritmpo y falsetas) --
Solea (por escrito) --
Harlequin (Arlequin) Rumba

BACH J. S., FOR ELECTRIC GUITAR. John Kiefer. 6 pezzi, tra i quali la famosa Toccata e Fuga in re minore di 6 minuti e 20 secondi. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO della MUSICA DI BACH PER CHITARRA ELETTRICA, CON CD. 

SPARTITI PER CHITARRA : 

PENTAGRAMMA E TABLATURE. 

TRASCRIZIONE COMPLETA PER CHITARRA ELETTRICA, DALL'ORIGINALE PER ORGANO, DI TUTTA LA CELEBRE Toccata And Fugue In D Minor Bwv 565 .

Unlike many Bach editions for guitar, these transcriptions are meant to be performed using a pick. Although a few of the pieces may be played on a standard acoustic guitar, most require an electric guitar or a guitar with a cutaway. All pieces are in the original keys and their ranges may require notes as high as the twenty-second fret. Written in notation and tablature, these six pieces make great sight reading exercises. The included CD will prove an asset in learning these often challenging pieces.

ABOUT THE AUTHOR
John Kiefer developed an interest in the guitar at a young age. Among his classical guitar teachers were Howard Wallach at San Jactinto College and William Gangel at Southwest Texas State University. Mr. Kiefer is a graduate of the Guitar Institute of Technology in Los Angeles, California, as well as the University of Houston where he received a Bachelor's degree in music composition. He has studied composition with Robert Albury, George Burt at Rice University, and he is currently studying with Michael Horvit and Reynaldo Ochoa at the University of Houston where he is working on a Master's degree in music composition. John is the author of a series of electric guitar transcriptions and companion CDs published by Mel Bay Publications including Classical Music for Electric Guitar, and Christmas Music for Electric Guitar. His guitar compositions include numerous works for classical and electric guitar in various settings. His sex t e t for flute, oboe, bass clarinet, percussion, electric guitar and cello was selected as the winner of the first annual Brown New Music composition competition at Brown University in Providence, Rhode Island where it was performed in the spring of2001. Hex e n bra u for electric guitar and orchestra was premiered in October of 2001 by the Baytown Symphony Orchestra with the composer as soloist. Mr. Kiefer currently teaches at Lee College in Houston, Texas.

PREFACE
Unlike many Bach editions for guitar, these transcriptions are meant to be performed using a pick. Even though a few of the pieces may be played on a standard guitar, the others require an electric guitar or a guitar with a cutaway. The highest note used is the D on the 22nd fret of the first string. All pieces are in their original keys. Octaves have been occasionally raised or lowered to suit the range of the guitar. One of the techniques employed in this collection is hybrid picking. Hybrid picking is a right hand technique combining the use of the pick (held by the thumb -p-and the index finger -i-) with the remaining right hand fingers simultaneously. The indications are m - 2nd finger, a - 3rd finger, and c- 4th finger. All slurs (hammer-ons and pull-offs) are indicated on the tablature by an arc between two or more numbers. Glissandos (slides) are notated with a diagonal line. This collection consists of music written for flute (Badinerie), violin (Preludio and Gigue) and organ (Toccata and Fugue in D minor, Fantasia in G, and Praeludium in A minor). In its original setting, the Badinerie (flute part) is accompanied by a small orchestra consisting of two violins, a viola, and basso continuo.

Contents:
Fantasia In G Major Bwv 572 (Tres Vitement) (1:57) -- Johann Sebastian Bach, Transc. By: John Kiefer
Gigue In E (From Partita No.3 Bwv 1006) (2:04) -- Johann Sebastian Bach, Transc. By: John Kiefer
Toccata And Fugue In D Minor (Bwv 565) (6:19) -- Johann Sebastian Bach, Transc. By: John Kiefer
Badinerie (From Suite No. 2 Bwv 1067) (1:24) -- Johann Sebastian Bach, Transc. By: John Kiefer
Praeludium In A Minor (Bwv 543) (2:11) -- Johann Sebastian Bach, Transc. By: John Kiefer
Preludio In E (From Partita No.3 Bwv 1006) (2:16) -- Johann Sebastian Bach, Transc. By: John Kiefer
 

BRUNEL BUNNY, COMPLETE BOOK OF BASS ESSENTIALS. Un metodo direttamente dal bassista francese di Al Di Meola, e altri della jazz-fusion. TABLATURE DVD

LIBRO METODO PER BASSO, CON DVD.

SPARTITI PER BASSO CON: ACCORDI, PENTAGRAMMA, GRAFICO DELLA TASTIERA.

Product Description:
Bunny Brunel has played with Chick Corea, Herbie Hancock, Tony Williams, Larry Coryell, Wayne Shorter, Al Dimeola, Al Jarreau, and many other jazz and fusion greats. Bunny has compiled over 250 pages of "nuts and bolts" basics needed to play contemporary bass. Applicable to either 4- or 5-string bass, this comprehensive text covers position playing, utilizing scales and modes, chords and harmony, creating bass lines, improvising, fingering, and much more! In notation only with fretboard diagrams.

Product Number: 94740DP
Format: Book+DVD
ISBN: 0786672439
UPC: 796279096959
ISBN13: 9780786672431
Series: Complete
Publisher: Mel Bay Publications, Inc.
Date Published: 3/8/2006

Contents:

Lesson #1
The Right- & Left-Hand Fingerings

Lesson #2
The Major Modes
The Ancient Greek Modes

Lesson #3
The C Major Positions

Lesson #4
The G and D Major Positions

Lesson #5
The Harmonic Minor Modes

Lesson #6
The C Harmonic Minor Positions

Lesson #7
The G and D Harmonic Minor Positions

Lesson #8
The Melodic Minor Modes

Lesson #9
The C Melodic Minor Positions

Lesson #10
The G and D Melodic Minor Positions

Lesson #11
The Additional Modes

Lesson #12
Reviewing the Modes

Lesson #13
The Pentatonic Scales

Lesson #14
Chords & Harmony

Lesson #15
Key Signatures

Lesson #16
Matching the Chords with the Modes

Lesson #17
A Few Tips

Lesson #18
Creating Bass Lines

Lesson #19
Improvisation

CONTEMPORARY TROPICAL CLASSIC GUITAR COMPOSITIONS, José Febles. CD TABLATURE

PREFACIO

Es una gran responsabilidad ademas de una satisfaccion personal escribir una o varias
composiciones para este hermoso instrumento, la guitarra, especialmente si pensamos en esos
grandes compositores como Agustfn Barrios Mangoré, Heitor Villalobos, Joaquin Rodrigo,
Antonio Lauro, Jorge Morel y otros. Humildemente y con gran respeto a estos grandes
compositores, he sentido la necesidad y el deseo de contribuir, mantener viva y en expectativa
la composicion para guitarra, pensando en aquellos aficionados que se deleitan en escuchar y
ejecutar la musica para este instrumento.
Este libro ofrece una excelente oportunidad a guitarristas y estudiantes a poder
interpretar musica contemporanea y fresca sin perder la esencia y la belleza que merece la
composicion de este bello instrumento. He aquf mi humilde aportacion a la musica para
guitarra clasica contemporanea.
José Febles

PREFACE
It is a great responsibility and also personally satisfying to write one or several compositions
for this beautiful instrument, the guitar. This is true especially when we think about the
great composers like Agustin Barrios Mangoré, Heitor Villalobos, Joaquin Rodrigo, Antonio
Lauro, Jorge Morel and others. Humbly and with great respect for these great composers and
thinking of those enthusiasts who enjoy listening and making music for this instrument, I have
feH the need and desire to contribute to the composition for guitar keeping it alive and full of
expectation.
This book offers an excellent opportunity for guitarists and students alike to play fresh,
contemporary music without losing the essence and beauty that a composition for this beautiful
instrument deserves. This is my humble gift to the music for contemporary classic guitar.
José Febles

EL AUTOR

José Febles nacio el18 de julio de 1949 en la ciudad de Ponce, Puerto Rico. Su
inclinacion musical desde una edad tiernafue evidente. Su padre J. Angel Febles (Gelo)
acordeonista, y su madre Nereida Toro, cantante aficionada, le dejaron como herencia el arte
musical. Comenzo sus estudios de musica a la edad de 9 anos en la escuela Libre de Musica
Juan Morel Campos donde estudio teoria, apreciacion musical, solfeo e instrumento siendo
este la trompeta.
Su aficion por la guitarra comenzo a los 13 anos cuando consiguio una guitarra y
comenzo a estudiar por su propia cuenta con diferentes métodos. Sus primeras lecciones
formales de guitarra fueron con los senores Rafael Martell y Francisco Laboy. A los 14 anos
escribio su primer arreglo musical el cual marco su futuro como uno de los mas destacados
arreglistas de el ambiente latino hoy dia.
En el ano 1969 se mudo a Nueva York donde ha cosechado tremendo éxito como
arreglista y compositor durante décadas. José ha sido arreglista de casi todos los artistas de
renombre en el mundo latino al igual que compositor, no solo en Nueva York sino también ha
realizado trabajos para artistas de otros paises como Japon, Holanda, Alemania, Francia,
Espana, paises de Sur América, Puerto Rico y de otros ciudades de los Estados Unidos. No fue
hasta la década de/80 cuando José comenzo a estudiar con el profesor de guitarra Jorge Morei,
quien en realidad desperto e/ interés en José por la composicion de guitarra.

THE AUTHOR
José Febles was born on July 18th, 1949 in the city of Ponce, Puerto Rico. His musical
inclination was evident from an early age. His father J. Angel Febles (Gelo), accordionist, and
his mother Nereida Toro, amateur singer, left him a legacy of musical artistry. He started his
musical studies at the age of 9 at the Escuela Libre de Musica Juan Morel Campos where he
studied theory, musical appreciation, solfeggio and instrument, the trumpet being the instrument
of study.
His love for the guitar started at the age of 13 when he found a guitar and started to study
by himself with different methods. His first formaI guitar lessons were with Rafael Martell and
Francisco Laboy. At 14 years of age he wrote his first musical arrangement which marked his
future as one of the most outstanding arrangers in the Latin field today.
In 1969 he moved to New York where he has had great success as an arranger and composer
for decades. José has been an arranger for almost alI the famous artists in the Latin world
not only in New York, but he has also produced arrangements for artists from other countries
like Japan, Holland, Germany, France, Spain, countries of South America, Puerto Rico and from
other cities in the United States. It was not until the ' 80s when José started to study under guitar
professor Jorge Morel, who in fact sparked José's interest in guitar composition.

8 Pezzi:

l - Preludio d'Aida (Prelude d'Aida)
2 - Coral
3 - Ternura (Tenderness)
4 - Madrigal
5 - Black and White
6 - El Arpa del Rey David (King David's Harp)
7 - Oasis
8 - Cascada (Cascade).

CD Contents

Recording by Ben Bolt: Guitar 

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