Media Type : Book Level : Advanced Musical Genre : Jazz Series : MBGU Number of pages : 40 This book offers an easily learned method that will quickly move the student from intermediate into advanced harmonic territory, adding richness, texture and uniqueness to the improvisational approach. The concept starts with common elements of basic diatonic harmony and moves them in ways that gradually increase the harmonic complexity of their application. Students will greatly expand chord vocabulary and add considerable interest and depth to improvisations. This method provides a simple approach to making the use of alterations and extensions a natural part of any player's harmonic vocabulary. • Simple, familiar forms are applied in unique ways to add richness and texture to the improvisational sound. • Uses a simple methodology to integrate alterations and extensions into the harmonic repertoire. • Rich with ideas to open your ears and add harmonic interest to your playing. • Reinforces knowledge of chord scales, arpeggios and drop 2 and drop 3 chord voicings. • Following the completion of this study, the concepts from this book can be used by anyone to continue to experiment and discover a unique and individual sound.

Gae Manfredini mette a vostra disposizione la sua lunga esperienza, maturata in tanti anni di attività nella didattica musicale, per consentirvi di affrontare e, finalmente, di superare i problemi del fraseggio e dell'improvvisazione rock. Lo scopo deo consiste nell'indicare un approccio, semplice e il più pratico possibile, per capire i meccanismi, per comprendere, partendo dalle varie scale disponibili, quale tipo di sviluppo musicale è possibile affrontare nelle varie situazioni armoniche, ce di arrivare alla realizzazione di un fraseggio melodico che abbia un proprio significato musicale preciso. Si parte da un'analisi di tali scale per verificare immediatamente, per ognuna di esse, il contesto più efficace, la sonorità tipica che esse tono di ottenere e così via, dimostrandone in concreto la realizzazione su basi che utilizzano sequenze armoniche pensate per evidenziare il significato musicale dei vari sistemi di scale. / Guitare

Imagery Suite è lo straordinario prodotto dell'incontro musicale di due tra i più grandi chitarristi del nostro tempo : Maurizio Colonna, uno dei più significativi innovatori del chitarrismo classico contemporaneo, e Frank Gambale, caposcuola e puntoferimento assoluto dei nuovi linguaggi jazz-rock. La reale possibilità di fare musica senza rinunciare ad esprimere totalmente il proprio stile, la propria personalità musicale è, senza dubbio, il sorprendente risultato ottenuto in Imagery Suite. Un ato che certamente poggia sul virtuosismo e sulla profonda conoscenza strumentale dei due chitarristi, ma ciò che veramente colpisce di Colonna e Gambale sono la carica emotiva, l'energia, la grande sensibilità, tutto a livelli assolutamente eccezionecisamente fuori dall'ordinario. El Prado - Villa Borghese - Maracanà - Pacific Palisades - Beachwood breeze - Camaiore - Fortaleza - L.A.X. / Guitare

Intended for both working guitarists and those who play strictly for the enjoyment of great music, this collection of Renaissance favorites transcribed for guitar will add something special to any party or social gathering. Including popular pieces such as John Dowland's 'Orlando Sleepeth,' 'Tarleton's Riserrectione,' and 'Mrs. Winter's Jump,' Luis de Milán's 'Pavan I' and 'Pavan III,' and Luis de Narváez's 'Diferencias sobre 'Guárdame las Vacas,'' this edition will provide a repertoire of crowd-pleasing Renaissance tunes for any event. A special section about plucked instruments of the Renaissance is included to make this book more useful and enjoyable to own. / Guitare

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

Le livre Vocal réelle est la réponse à l'ouvrage de faux. C'est une alternative à la pléthore de volumes mal conçues, illisibles, inexacts, mal edited qui abondent sur le marché aujourd'hui. Le livre Vocal réelle est extrêmement précis, soignée et vise, avant tout, pour un usage pratique. Tous les efforts réalisés pour le rendre agréable à effectuer. La sélection de musiques pour ce volume met en évidence les principaux compositeurs jazz du passé des années 60, avec une attention particulière pour les années 1960 et 1970. Un certain nombre de chansons par Rogers

Guillermo Diego's Album Pieces for Solo Guitar Volume I embody a collection of original works conceived by this recognized Mexican composer for classical guitar. These pieces have being written with different musical languagesthat goes from the inspiration in Mexican styles to free pieces that use contemporary and different resources that belongs to the guitar concerto style. This works are plenty of musical colors and offers different challenges tothe guitarist. The writing is completely idiomatic very natural for the guitar; it is music in which one the professional finds an artistic meaning but also the students will find the elements to improve his technical and willnear them to original works that have being composed recently and inspired in Mexican and Latin American music. The publication of this book is a premiere and will give to the guitarist part of the knowledge of what it is happencurrently in Mexican classical guitar. Guillermo Diego is a well-known composer into the sphere of classical guitar who has being recognized for his contributions to the art of the guitar.

New compositions for solo classic guitar by acclaimed guitarist and composer David Pritchard. All solos are in standard notation. 'In addition to all the music I?ve written over the past twenty years for multiple acousticguitars I have on occasion felt inspired to write a smaller number of pieces for just one guitar. Exploring a meditative feel was my motivation for writing ?A Pale View ' 'A Silent Dream ' and 'Restoration.' 'A Silent Dream'can be played either as a solo piece or it can be enhanced by having another guitarist play the second part. 'Arundo' is basically a right hand study piece alternating between two patterns both in different meters while 'OrbWeaver' is primarily a Latin rhythm study with much syncopation alternating simply between two chords. 'Coryza' was written with the acoustic steel string in mind using DADGAD tuning.

Hip Licks for Guitar is designed to helpguitarists develop fluency in the jazz language by providing mainstream jazz vocabulary (swing/bop/post-bop) that nails the changes and lays great on the horn. Think of Hip Licks for Guitar as a musical reference book, like a dictionary of great licks in all twelve keys, available when you need it. You can open the book to any page and just start playing. Special Features of Hip Licks for Guitar by Greg Fishman, featuring guitarist, Mike Allemana: ? 168 Hip Licks ? Each lick is unique and customized for each key. The C7 lick is different than the B7 lick, which is different than the Bb7 lick, etc. ? Slow Tempo and Fast Tempo Play-Along CDs are Included 2 Guitar CDs featuring master guitarist Mike Allemana playing the licks at slow

A range of fabulous educational and concert guitar music by the UK's top guitar composers educators and performers.Rush originally started out as a study for the right hand thumb. The piece opens in five with a darting weaving bass melody and harmonic language similar to the Cuban feel of Leo Brouwer's first study. As the piece progresses I played around with some poly-rhythms and syncopations in 3/4 time with a Venezuelan flavour similar to the music of Antonio Lauro.The title Metropolis was created like many of my pieces retrospectively. It was suggested to me by Mark Eden and resonated with much of what I felt the piece conveyed essentially the non-stop hustle and bustle of a musical 'city' where influences combine from many different ages and musical cultures. The initial ideas for the piece came from trying to formulate a study for the left hand where the 4th finger jumps from the first string to the lower bass strings. As is often the case on finishing the piece I now hear many things which although not used consciously have emerged in the music to remind me of music I have listened to or studied in the past.At various points a musical quote taken from the end of the first movement of La Catedral by the Paraguayan guitarist and composer Agustin Barrios Mangore appears which I have syncopated and used as a musical junction with the music taking a different direction each time it appears.Towards the end of the piece the performer combines left hand hammered chords with right hand finger clicks and tamboura creating a visual juggling effect when performed. Something resembling the sound of a siren can then be discerned before the piece moves into the closing E major section. I did most of the work for the final version of this piece in the autumn of 2005 just after the birth of my second daughter!I think the music reflects something of the pace of my life around then!Birds Flew Over The Spire is a short lyrical piece which was also

Complete Warm-Up for Classical Guitar contains short and concise exercises for use in a warm-up before practice or performance and for general technical advancement. The book is divided into foursections: I Arpeggios II Scales III Tremolo and IV Slurs. Each section contains a description of the exercises and general instructions on how to play them. The exercises are intended for guitarists who are looking for a simplewarm-up that does not require learning many complicated Etudes exercises or routines. In this book only one Etude is used for a variety of arpeggio and tremolo patterns. The scale warm-ups are based on a two-octave one-position scale that is shifted up and down the fretboard and a simple one-position chromatic scale. The pull-off and hammer-on slurs are combined into one exercise to save time. This same routine when practised with themetronome gradually increasing the tempo can also double for technical work. With the exception of one chromatic scale exercise the rest are on closed strings. Besides being able to move the scale up and down the fretboard thefirst finger can be barred. This will increase the left hand difficulty and improve the left hand position and strength.There is close to an hour's worth of material if all the exercises are played with all of theirvariations at different tempos. Not everything needs to be played everyday so the warm-up session can be as long as desired or as short as time allows.