General Reference

Jazz guitarist Goodrick teams with Miller to explain his system of Generic Modality Compression, a way of studying harmony which allows guitarists to discover fresh and unusual chord voicings. With an introduction and appendix.

Contemporary Chord Khancepts presents information for guitarists of all styles-from Rock, Latin, and Funk to Country, Jazz, and Alternative. Steve shares his approach to chord construction, an area he has become known for on guitar. In this book, he has taken a complex subject and broken it down into simple building blocks and small study units. You will learn to extend your sense of harmony by the superimposition of chord forms which are familiar, as well as a world of new ones. Your ability to express yourself and create textures and musical moods will improve immediately. The text is accompanied by two CD's full of performed examples, play-along tracks, and five completely new compositions by Steve only available in this package. For guitarists, the Khancepts in this book will serve as an unlimited source of reference materials and ideas for as long as you enjoy playing the instrument. Book jacket.

Guitarskole for jazzguitar baseret på Charlie Parkers soli

Guitarskole.

This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique andthe exhaustive tables of melodic and rhythmic possibilities.It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation.Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing twosimultaneous tempos. The book concludes with a study of polyrhythm, playingone rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to beinclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else?s. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma,method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.

This collection of etudes, written during the 1970's, was composed as a result of Jimmy Wyble's explorations into the musical worlds of counterpoint, harmony and chord melody improvisation for the jazz guitar. the right and left hand fingerings presented in this book were also developed as techniques needed to improvise jazz in two lines. Jimmy uses very standard jazz guitar chord shapes in these etudes; however, these shapes move through the harmony in lines rather than block chord structures. This broken chord technique creates a unique contrapuntal sound that separates Jimmy from the rest of the fingerstyle jazz guitar world. It is hoped that jazz and classical guitarists playing and working through these etudes will see many familiar chord shapes moving in new ways and creating new sounds. These new harmonic sounds combined with beautiful melodies will inspire any quitarist to new levels of musical creativity. Written in notation and tablature. 92 pages.