JH Modern Guitar Concepts

MODERN GUITAR CONCEPTS TOPICAL OUTLINE Jake Hertzog 1. Short History of Guitar 2. Physical Techniques of the Guitar (Hand Physics) 3. Basic Right Hand and Left Hand Exercises, Strengthening 4. Three Types of Practicing A. Harmony/Chords/Progressions 1. The Genesis of Chords 2. How to Build and Spell Chords 3. Analyzing Chords and Chord Structure 4. Major Scale Harmony 5. Jazz Power Chords 6. Drop 2/3 Voicings for Guitar 7. Two-Five Chord Progressions 8. Minor Harmony 9. Melodic Minor 10. Modal Harmony 11. Upper Structure Harmony 12. Sus and Spread Voicings 13. Re-harmonizing Pop Progressions 14. Re-harmonizing A Melody B. Improvising/Soloing 15. Scale Derivation and Relationships (How To Build Scales) 16. Soloing on One Chord (Modal Playing) 17. Putting It All Together (Inside Soloing) 18. Articulation/Swing Phrasing/Deep Time 19. Transcribing, Writing Out Solos 20. Pentatonic/Hexatonic Scales 21. Wide Intervals 22. Chromatic Playing 23. Melodic Languages (Outside Soloing) 24. Contrasting Elements 25. Vertical Playing and Arpeggios 26. Motif Development 27. Advanced Right Hand Methods (hybrid picking, finger style) 28. Advanced Left Hand Technique (articulation, legato) C. Forms/Style • Rhythm/Accompaniment 29. Rhythmic Variety in Solos 30. Comping Rhythms 31. Walking Bass Lines and Chord 32. Rhythmic Groupings • Repertoire 33. Blues Part 1 (Jazz Blues) 34. Blues Part 2 (Jazz Blues) 35. Charlie Parker Blues 36. Rhythm Changes Part 1 37. Rhythm Changes Part 2 38. 32 Bar Diatonic Tune (All The Things You Are - American Songbook) 39. Impressions Modal/Pedal Form 40. Chord Melodies 41. "Giant Steps" and "Countdown" Coltrane Changes 42. Contemporary Forms (Shorter, Swallow, Metheny, Corea etc) 43. Free Form Playing 44. Ballad Form 45. Intros/Endings • Melodic Languages 46. Approach Notes (7 Patterns) 47. Pentatonic and altered Pentatonic variations 48. Hexatonic Combinations, 6 note scales, Triad Pairs 49. Altered Modality (i.e. Lydian b2) 50. Superimposition of Standard Modality (Harmonic Grid) 51. Symmetrical Scales 52. Double Triad Harmony 53. Intervallic Playing (no chords) 54. Add On Chords (i.e. Ab Maj7 #5 add b7) 55. Polychords - 7th Chord/7th Chord, Use of bass note 56. Complex Harmony, use of many types of colors 57. Intervallic Structures (I.S.) 58. Non-Harmonic Triads (14 combinations) 59. 12 Tone Chord Structures, 12 Tone Composition/Improv • Rhythm 60. In time deep swing 61. On top of, in front of, behind the beat 62. Chord punctuation 63. Metric modulation 64. Free time 65. Free time over time 67. Odd meter 68. Mixed Meter Important Extras: Solo Guitar Sight reading Classical Guitar Rep and techniques World music tunings and rhythms .

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Harmony Crib Sheets
Jazz Harmony Primer General stuff There are two main types of harmony found in modern Western music: 1) Modal 2) Functional Modal harmony generally involves a static drone, riff or chord over which you have melodies with notes chosen from various scales. It’s common in rock, modern jazz and electronic dance music. It predates functional harmony, too. In some types of modal music – for example in jazz - you get different modes/chord scale sounds over the course of a piece. Chords and melodies can be drawn from these scales. This kind of harmony is suited to the guitar due to its open strings and retuning possibilities. We see the guitar take over as a songwriting instrument at about the same time as the modes become popular in pop music. Loop based music also encourages this kind of harmony. It has become very common in all areas of music since the late 20th century under the influence of rock and folk music, composers like Steve Reich, modal jazz pioneered by Miles Davis and John Coltrane, and influences from India, the Middle East and pre-classical Western music. Functional harmony is a development of the kind of harmony used by Bach and Mozart. Jazz up to around 1960 was primarily based on this kind of harmony, and jazz improvisation was concerned with the improvising over songs written by the classically trained songwriters and film composers of the era. These composers all played the piano, so in a sense functional harmony is piano harmony. It’s not really guitar shaped. When I talk about functional harmony I’ll mostly be talking about ways we can improvise and compose on pre-existing jazz standards rather than making up new progressions.
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PICKING HAND GRIMOIRIUM by Byron Santo Is a Very Useful Working Tool for the Guitarist to Develop New Melodic Ideas and Compositional Insights and Directions
c For 4, 5, 6 & 7–String Instruments Forward " I believe that THE PICKING HAND GRIMOIRIUM by Byron Santo is a very useful working tool for the guitarist to develop new melodic ideas and compositional insights and directions. It is an important conceptual contribution which respects the users intelligence and creativity and allows one the freedom to remain oneself musically while exploring unheard of possibilities for the guitar." ----NEY MELLO Preface The Picking Hand Grimoirium provides in one volume, the necessary exercises for the development of the picking hand for string instrumentalist of 4, 5, 6 or 7 string instruments. The exercises focus on the “micro” movements of the picking hand through permutations of strings and notes-per-strings. The musician can isolate, and then develop one specific picking hand movement with the exerecises. By using this method, it insures complete picking hand development before adding the fretting hand. Since the exercises are “micro” picking hand movements only, detailed attention can be placed on technique, tempo, rhythm, dynamics and consistent string attack for optimum picking hand development. The exercises can and should be applied to ALL picking techniques that the musician chooses in their form of expression such as free strokes, rest strokes, alternate picking, economy picking, hybrid picking, finger picking, tremolos, slapping, double thumping, plucking, etc. As the musician progresses through the various exercises, new picking patterns will be encountered that could aid the musician in composing new and unique ideas. The permutations in the Picking Hand Grimoirium were created by computer program developed by the author. This insures that ALL permutations of strings and notes-per-strings are included.
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University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
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JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II.
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Cadence in Music Version 1.9: Oct 4, 2007 12:24 Pm GMT-5
Connexions module: m12402 1 Cadence in Music Version 1.9: Oct 4, 2007 12:24 pm GMT-5 Catherine Schmidt-Jones This work is produced by The Connexions Project and licensed under the Creative Commons Attribution License ∗ Abstract A cadence is a place in a piece of music that feels like a stopping or resting point. In tonal music, cadences are classied by their chord progressions. Cadence in Music A cadence is any place in a piece of music that has the feel of an ending point. This can be either a strong, denite stopping point - the end of the piece, for example, or the end of a movement or a verse - but it also refers to the "temporary-resting-place" pauses that round o the ends of musical ideas within each larger section. A musical phrase1, like a sentence, usually contains an understandable idea, and then pauses before the next idea starts. Some of these musical pauses are simply take-a-breath- type pauses, and don't really give an "ending" feeling. In fact, like questions that need answers, many phrases leave the listener with a strong expectation of hearing the next, "answering", phrase. Other phrases, though, end with a more denite "we've arrived where we were going" feeling. The composer's expert control over such feelings of expectation and arrival are one of the main sources of the listener's enjoyment of the music. Like a story, a piece of music can come to an end by simply stopping, but most listeners will react to such abruptness with dissatisfaction: the story or music simply "stopped" instead of "ending" properly.
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Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301
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Teaching Jazz Improvisation Using Macro-Analytical Techniques
Teaching Jazz Improvisation Using Macro-Analytical Techniques Nolan Stolz tudents of jazz must overcome several hurdles in their develop- ment as musicians. Technical fluidity may be mastered in a practice room, but skills related to style and performance practice are Sbest obtained through experience. A command of aural skills such as the recognition of intervals, chords, scales and form is imperative. A theoretical approach to performance is another important component of a jazz musician’s education. The aim of this article is to demonstrate to jazz educators, theorists and performers that macro analysis can be one of the most useful tools in developing this approach. In my years of teaching jazz improvisation, I have noticed students who improvise solely by ear—without an understanding of the underlying theory—have a very limited improvisational vocabulary and struggle with many of the same problems. They improvise diatonically, lose the form,1 improvise melodies that lack harmonic direction and do not resemble the original melody, and do not resolve guide tones.2 I have found that applying macro-analytical techniques to teaching jazz improvisation greatly improves students’ understanding of jazz harmony, and consequently, improves their improvisational skills. Macro analysis can help the performer understand the melodic and harmonic structure of a composition, leading to a more successful performance, including solo improvisation. A song’s formal structure will become clearer, reducing the likelihood of getting lost in the form. Moreover, Roman numerals, used in conjunction with macro analysis slurs, increase the student’s ability to transpose the tune to a different key, which is especially useful when working with vocalists and transposing instruments.
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A Diachronic Analysis of Harmonic Schemata in Jazz Daniel Shanahan1 & Yuri Broze2 School of Music, Ohio State University, USA [email protected], [email protected]
A Diachronic Analysis of Harmonic Schemata in Jazz Daniel Shanahan1 & Yuri Broze2 School of Music, Ohio State University, USA [email protected], [email protected] ABSTRACT recording as being more authoritative than the other without introducing personal or theoretical bias. The harmonic language of jazz is fluid and living, Jazz harmony relies heavily on a set of well-defined characterized by the continual introduction of reharmon- harmonic patterns that evolved gradually throughout the 20th izations that may be dependent upon the harmonic clichés at century. While certain tonally-oriented progressions such as the time of performance. As such, a transcription of a single the “ii-V-I” appear to be nearly ubiquitous across time- recording might not adequately capture the spirit of the periods, the jazz tradition also includes a notable departure composition. While D’Clerq and Temperley (2011) were from tonal harmony: the rise of modal jazz in the late 1950s. easily able to identify definitive versions of rock and pop We aimed to systematically investigate the history of jazz recordings, this tactic would not necessarily translate well to composition by describing the evolution of chordal syntax, as the jazz idiom. Aside from big band arrangements, the well as the sort of organizational frameworks that might be dependence on an authoritative score has often been described as harmonic schemata. secondary in jazz music. In this study, we empirically describe the most common Nonetheless, it is possible to focus specifically on the form chords and chord motions of the jazz canon, and trace their of a composition most likely to play an active role in the evolution over time.
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Jazzing up Jazz Band JB Dyas, Phd As Published in Downbeat Magazine
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Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
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Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log On, Get Your Coffee, Listen, Relax
Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log on, get your coffee, listen, relax. • “I Got a Crush on You” recorded by Nat Adderley in 1960 on Work Song. Written in 1928 for Treasure Girl. • “Nice Work If You Can Get It” recorded by Sarah Vaughn in 1950 on Sarah Vaughn with George Treadwell and his All Stars. Written in 1937 for Damsels in Distress. • “Isn’t It A Pity” recorded by Cheryl Bentyne in 2010 on The Gershwin Songbook. Written in 1933 for Pardon My English. • “I Loves You, Porgy” recorded by Billie Holiday, accompanied by Bobby Tucker. Written in 1935 for Porgy & Bess. • “Let’s Call The Whole Thing Off” recorded by Ella Fitzgerald and Louis Armstrong with the Oscar Peterson Trio in 1957 on Ella and Louis Again. Written in 1937 for Shall We Dance. • “They Can’t Take That Away From Me” recorded by Frank Sinatra in 1962 on Sinatra and Swingin’ Brass. Written in 1937 for Shall We Dance. • “Do It Again” recorded by Beverly Kenney accompanied by Ellis Larkins in 1958 on Beverly Kenney Sings for Playboys. Written in 1922 for The French Doll. • “Love is Here to Stay” recorded in 1955 by Carmen McRae. Written in 1937 for The Goldwyn Follies. • “My One and Only” recorded in 1950 by Ella Fitzgerald with Ellis Larkin on Ella Sings Gershwin. Written in 1927 for Funny Face. • “I Got Rhythm” recorded in 1964 in Sweden by Sarah Vaughn. Written in 1930 for Girl Crazy. Class Begins at 930AM The Gershwins Part 1: “I Got Rhythm” Course Agenda showing the music 1.
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Guitar Virtuosity for the Everyday Man for Use with Guitar Freak Workstation
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