Joe's Guitar Method Towards a Jazz Improviser's Technique
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
View Printable PDF of 4.2 the Modes of Minor
LearnMusicTheory.net 4.3.2 The Modes of Minor These modes use the same notes as the melodic minor scale, but start on different scale steps (except min-maj). So the parent scale of these modes is the melodic minor scale. Each is associated with a chord, shown below. 1. Min-maj 1st mode of the melodic minor scale C- w wmw ^ & w wmbw w w b9 §13 2nd mode of the melodic minor scale 2. Susb9 (§13) wmw w ("2nd mode" means it starts on scale step 2.) Dsusb9 (§13) & wmbw w w w Phrygian-dorian = Phyrgian + §13 #4 #5 3. Lydian aug. mbw 3rd mode of the melodic minor scale wmw w Lydian augmented = Lydian + #5 Eb ^ #5 & bw w w w #4 4. Lydian dominant 4th mode of the melodic minor scale w wmbw w F7#11 & w w w wm Lydian-mixolydian = Mixolydian + #4 5. Min-maj w w 5th mode of mel. minor wmw wmbw Functions as an inversion of C- C- ^ /G & w w ^ 6th mode of melodic minor 6. Half-diminished w w m w wmbw w Locrian with major 9 (§9) A-7b5 (§9) & w w Levine says "Locrian #2" w 7. Altered dominant wmbw w w w 7th mode mel. minor B7alt & wm w "diminished whole tone" Shortcuts from parallel scales You can also spell the modes starting from a major or minor scale on the same tonic pitch as that mode: D natural minor scale D phrygian-dorian scale (compare marked notes) lower Phrygian- I I 2nd step, I I dorian w bw w w raise _ w nw w w Dsusb9 (§13) & w w w _ & bw w w w 6th step _ w Eb major scale Eb lydian augmented scale Lydian aug. -
Circuition: Concerto for Jazz Guitar and Orchestra
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2021 CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA Richard Alan Robinson University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2021.166 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Robinson, Richard Alan, "CIRCUITION: CONCERTO FOR JAZZ GUITAR AND ORCHESTRA" (2021). Theses and Dissertations--Music. 178. https://uknowledge.uky.edu/music_etds/178 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Where to Study Jazz 2019
STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life. -
Allan Holdsworth Schille Reshaping Harmony
BJØRN ALLAN HOLDSWORTH SCHILLE RESHAPING HARMONY Master Thesis in Musicology - February 2011 Institute of Musicology| University of Oslo 3001 2 2 Acknowledgment Writing this master thesis has been an incredible rewarding process, and I would like to use this opportunity to express my deepest gratitude to those who have assisted me in my work. Most importantly I would like to thank my wonderful supervisors, Odd Skårberg and Eckhard Baur, for their good advice and guidance. Their continued encouragement and confidence in my work has been a source of strength and motivation throughout these last few years. My thanks to Steve Hunt for his transcription of the chord changes to “Pud Wud” and helpful information regarding his experience of playing with Allan Holdsworth. I also wish to thank Jeremy Poparad for generously providing me with the chord changes to “The Sixteen Men of Tain”. Furthermore I would like to thank Gaute Hellås for his incredible effort of reviewing the text and providing helpful comments where my spelling or formulations was off. His hard work was beyond what any friend could ask for. (I owe you one!) Big thanks to friends and family: Your love, support and patience through the years has always been, and will always be, a source of strength. And finally I wish to acknowledge Arne Torvik for introducing me to the music of Allan Holdsworth so many years ago in a practicing room at the Grieg Academy of Music in Bergen. Looking back, it is obvious that this was one of those life-changing moments; a moment I am sincerely grateful for. -
Picking Mechanics for Blues Guitar
Picking Mechanics For Blues Guitar Antony Reynaert www.BestBluesGuitarLessonsOnline.com Contents Introduction I. Downstrokes Only . 5 A. When To Use B. Example C. Famous Players Using This Technique II. Alternate Picking . 6 A. When To Use B. Example C. Famous Players Using This Technique III. Economy Picking . .7 A. Why Use Economy Picking? B. Example C. Famous Players Using This Technique IV. Legato Technique . 8 A. When To Use B. Example C. Famous Players Using This Technique V. Sweep Picking . 9 A. When To Use B. Example C. Famous Players Using This Technique VI. Important Considerations . .. 10 copyright (c) Guitar Mastery Solutions Introduction: How To Free The Music Inside Of You By Overcoming Your Guitar Technique Limitations As a blues guitarist you want to express your feelings through your guitar. Before you can free the music in yourself, you need to clear the roadblock that is holding you back from expressing the music freely. Many guitar students struggle with their freedom of expression when playing blues solos, mainly because they believe that ‘blues is an easy style’ and because of this they never focus on blues guitar technique. This mistake causes the student to only get partial results when improvising and lays also at the root of why many struggle to play blues guitar solos effortless. How To Take Your Mind Of Guitar Technique Guitar technique should be practiced in order to take your mind of technique. Once you focused on the right exercises then you will find yourself in a place where you don’t have to actively think about technique anymore (even when playing the most challenging passages, licks, riffs or solos). -
^ > Lesson 21 Q Q Q Q Q &
Lesson 21 Common Notation Articulation defines the beginning and end of each note. A slur is one type of articulation. Again, much guitar music is informal and doesn't include many articulation marks, but, here are some others that you may see. Common Articulation Markings _ > ^ . Q Q Q Q Accents - play this note louder and harder Staccato - put a short silence Legato - play very smoothly, than the ones around it. (A strong between the notes with no silence between the notes rest stroke can give a good accent.) Theory Homework Read the first two section ("Introduction" and "Physics, Harmonics, and Color" and the last section (Harmonics on Strings) of Guitar Harmonic Series at http://cnx.rice.edu/content/m11118/latest/ Guitarists play harmonics by touching the string very lightly 1. What fraction of the string is at these harmonic frets? at the correct spot while it is being plucked. What is the interval between the harmonic and the open string? On open strings*, harmonics can only be played easily at the12th, 5th, and 7th frets 12th fret______________________________________ (see theory homework): 5th fret_______________________________________ 12th fret (1/2 string) octave higher 5th fret (1/4 string) two octave higher 7th fret_______________________________________ 7th fret (1/3 string) an octave and a fifth higher 2. Analyze the chord progression on your practice page: (Write I , V and so on over each chord.) Here are the harmonics available Transpose the whole progression into a new key (your choice). on the open A string: Check your transposition by making sure that the harmonic analysis did not change. -
Standard Course Outline
AY17-18 Montgomery County Community College MUS 152 Commercial & Jazz Guitar Studies 1-1-2 COURSE DESCRIPTION: The purpose of this course is to further develop the skills students have acquired on their own or in Guitar I class. This course will introduce intermediate techniques focusing on plectrum style guitar playing in the Jazz/Commercial genres. Students will develop the necessary skills to function as a guitarist by learning to 1) play a variety of accompaniment styles, 2) improvise using scales and arpeggio patterns combined with a knowledge of chord-scale relationships, 3) read chord charts and melody lines and 4) perform a continually expanding repertoire. This course is subject to a course fee. Refer to http://mc3.edu/adm-fin-aid/paying/tuition/course-fees for current rates. REQUISITES: Previous Course Requirements Music 150 Guitar Class 1 with a minimum grade of "C" Concurrent Course Requirements None LEARNING OUTCOMES LEARNING ACTIVITIES EVALUATION METHODS Upon successful completion of this course, the student will be able to: 1. Demonstrate a sound Demonstration, Discussion In Class and/or Public knowledge of the and Practice of Guitar Performance Evaluations fretboard through Technique (Both Group performance of major, and Individual) minor and pentatonic scales (5 positions Performances Both in each) and E, A and C Class and for the Public based bar chords. 2. Demonstrate proper left Demonstration, Discussion In Class and/or Public hand techniques and Practice of Guitar Performance Evaluations (addressing chordal and Technique (Both Group melodic issues). and Individual) Performances Both in Class and for the Public MUS152 ACT335 17-18 Page 1 of 4 LEARNING OUTCOMES LEARNING ACTIVITIES EVALUATION METHODS 3. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Tuning the Guitar by Ear Classical Guitar Corner Academy
Tuning the Guitar by Ear Classical Guitar Corner Academy www.classicalguitarcorner.com 5th- and 4th-Frets Method 1. First tune the sixth-string open E to a tuner, tun- ing fork, or another instrument already in tune. 2. Play the A on the fifth fret of the sixth string. Now match the open fifth-string A to that pitch. 3. Play the D on the fifth fret of the fifth string. Now match the open fourth-string D to that pitch. 4. Play G on the fifth fret of the fourth string. Now match the open third-string G to that pitch. 5. Play the B on the fourth fret of the third string. Now match the open second-string B to that pitch. 6. Play the E on the fifth fret of the second string. Now match the open first-string E to that pitch. Tuning by unisons will give solid results in that it works well with equal temperament (it doesn’t leave some intervals more in tune than others). This is also a long-standing method for tuning the guitar and is even recommended by Ferdinando Carulli in his early nineteenth-century method (Op. 241: pp. 8-9 of the UE Greman Krempl edition). However, just like the above 5th- and 7th-frets harmonics method, any slight errors from one string to the next will accumulate because this method does not use one reference pitch but instead uses five separate reference pitches. Moreover, using fretted notes will exacerbate any inherent intonation issues with the strings or setup issues such as with the nut and saddle of your guitar and so errors are more prevalent. -
Mike Moreno EMM Workbook
Chapter V The Art of Picking Mike shares his picking concept and explains the importance of reaching for the sound in your head to guide your technical development rather than ascribing to any particular picking style. The Art of Picking “Every style, every player Mike insists that there isn’t one way to pick, nor is there - they all pick differently.” one kind of pick that will help you sound better. Mike points out that if you analyze various guitarists through- out history, there does not seem to be a concensus on picking methodology. Therefore, Mike explains that the key factor in understanding how to pick is understanding how you personally hear your musical ideas. Mike likes how horn players sound. He always knew that he wanted to emulate the legato and flow that horn players attain by blowing through their instrument with one breath. Mike wanted his lines to sound similar to this legato sound, so he devised his own picking style, a combination of sweep picking/economy picking and legato playing (hammer-ons/ pull-offs). Mike also utilizes more downstrokes when he wants to sharpen the attack and articulation of his notes. Mike recommends taking multiple bebop melodies or 8th note driven melodies and making them sound as clear, grooving, and articulate as possible. Experiment with different picking techniques according to how you want the melody to sound. Focusing on the sound in your head will guide you naturally through the process of discovering the best picking method for you. Elite Music Mentor Mike Moreno 70 The Art of Picking MIKE’S APPROACH & FINDING YOUR OWN APPROACH • Decide on the kind of sound you want to emulate (0:54) • Alter your picking technique according to this sound (1:49) • Experiment with sweep and economy picking (2:52) Refer to the next section for transcriptions. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e. -
A Handbook of Cello Technique for Performers
CELLO MAP: A HANDBOOK OF CELLO TECHNIQUE FOR PERFORMERS AND COMPOSERS By Ellen Fallowfield A Thesis Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted.