Jazz Classics for Guitar Tab

Guitarist and composer Andrew York presents the ultimate guide to jazz for classical guitarists. The first two sections of this three-part book cover jazz harmony and chord/melody, focusing on comping, chord voicings, voice leading, and arranging for solo guitar. Part three looks at improvisation, which may be the most exciting---yet foreign---aspect of jazz for classical guitarists. York shows you that improvisation is a skill that can be learned and practiced just like any other. By practicing the ear training and visualization exercises in this book, you will learn how to turn the music you hear in your 'mind's ear' into imaginative, great-sounding jazz solos. The CD contains the exercises and examples performed by the author. / Guitare

for Solo Guitar Vol. 1-This collection will help spark an interest in the development of an American repertoire for the classical guitar. Traditional Scottish and Irish tunes were transformed by the African rhythms of banjo players which in turninfluenced popular music and led to ragtime jazz and blues. The amount of folk music in America is staggering. The nineteenth century gave birth to many unique American styles and its songs are an important part of our musicalheritage. Even today quite a few of the tunes in this collection will seem very familiar. Written primarily in standard notation the exceptions being those tunes in altered tunings which logically appear in tablature only.

20 'evergreens' of popular and jazz music arranged for the classical guitar by John Zaradin.

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.

25 Stücke für Gitarre solo-This repertoire book presents 25 pieces for classical guitar inspired by pop music designed to appeal to young students in particular. The collection contains melodic and atmospheric ballads as well as some great swing Latin ragtime and jazz style numbers. The pieces span a range of levels from easy to moderately difficult with complete fingerings and tempo indications. The accompanying CD provides first-class performances by the up-and-coming concert guitarist Julia Trintschuk. These are intended to give an example of interpretation and to encourage a deeper study of the music.

Classically trained jazz guitarist Diego Barber presents five well-developed themes and a 3-movement solo sonata transcribed from his outstanding commercial CD recordings: Calima One Minute Later Tales and The Choice. Two of the tracks “Elvira Maria” and the 3-movement Sonata “Banc d’Arguin” are strictly guitar solos while “Richi” is a solo accompaniedby light percussion. “Kilian’s Mountain” is a reduced score of an extended duet with a pianist and “Desierto” and “Virgianna” include expert sidemen on saxophone bass and drums.The music ventures from complex melody-chord textures to hard-swinging grooves all played with spontaneity and a heightened awareness of time dynamics color technique and tone. Even seasoned guitarists will find thesepieces rhythmically and technically challenging but they provide a roadmap to the recordings and rare insight to the workings of a unique musical mind. Diego Barber’s Compositions for ClassicalGuitar are written in standard notation only with online access to stellar solo and ensemble recordings. About Sonata “Banc d’Arguin” … Diego Barber is a native ofLanzarote in the Canary Islands just off the northeast coast of Africa; in writing Sonata “Banc d’Arguin ” the main solo piece in this collection he was inspired by the major cities Nouadhibouand Nouakchott the Banc d’Arguin National Park and the desert of the West African country of Mauritania.

Book With Online Audio-The accurate interpretation of swing rhythm is the most important element in jazz music. This collection of 7 jazz etudes and 11 exercises for solo Guitar gives the student practice in playing this rhythmic pattern as well asworking on other important skills. The etudes are written in notation only in different jazz styles: Swing Latino Bossa Nova Blues and Jazz Rock. These etudes develop the ability of the right hand to sound as if two or threeinstruments are playing simultaneously. All of the etudes have bright melodies and rich jazz harmony. They are intermediate in difficulty. The exercises feature numerous skills including Swing style walking bass Latin style finger speed various rhythmic combinations and broken lines. Audio download available online.

15 jazz classics arranged for intermediate guitarists in notes and tab.Each solo combines melody and harmony in one superb fingerpicking arrangment.Includes an easy introduction to basic fingerstyle guitar.

Microjazz is the world-famous series of pieces based on classical technique yet using popular contemporary styles such as jazz, blues, rock 'n' roll and funk. Microjazz helps you develop musicianship and technique through the familiar sounds and styles of popular music. It is this unique combination of modern genres with traditional technique that has made Microjazz an international success with teachers and players, and one of the most widely used educational series ever published. New technology brings Microjazz alive and adds an exciting interactive dimension to practice and performance. Based on classical technique Microjazz is a great way to introduce rhythm and develop co-ordination skills whilst being fun for all ages and standards. A great motivator for the reluctant student the pieces are equally effective on acoustic or electronic instruments. Content : Spring Song Hungarian Stomp Fleet Feet Promises Wombling Mechanics Rag Highly Strung Beguine Boogie Young at Heart

Theory And Application. Par HATFIELD KEN. Cet ouvrage est conçu pour familiariser les guitaristes classiques avec le vocabulaire musical du jazz et d'encourager les guitaristes de jazz pour explorer les sonorités magnifiques et le potentiel expressif illimité de la guitare classique. La première moitié du livre contient les explications théoriques axées sur l'analyse harmonique des types de modifications de la corde et les formes de chanson on rencontre régulièrement du répertoire jazz, puisqu'il démontre l'application de toutes les douze notes de la gamme chromatique à une corde dans toute situation. La seconde moitié du livre est composée de Ken Hatfield compositions originales et transcriptions de ses solos improvisés. Tant les mélodies et les solos transcrits démontrent comment le matériel théorique dans la première moitié du livre peut être habilement appliqué dans le contexte des compositions représentant les trois genres musicaux qui ont servi de sources de renouvellement tout au long de l'histoire du jazz profonde et illustres : blues, les changements de rythme et normes. Le compagnon de 14-piste... / Niveau : Intermédiaire à Avancé / Jazz - Methods / Recueil / Guitare Classique

Exercises, Etudes, Solos, Duets. Par VINITSKY ALEXANDER. Cette musique originale pour guitare solo et le duo présente de belles mélodies et doigté commode et c'est très facile à effectuer. Commentaires de l'auteur expliquent comment déplacer de style classique au jazz. Les morceaux, divisés en deux chapitres, Etudes et pièces, sont écrits dans différents styles de jazz : Swing, Bossa Nova et du Blues. Les mélodies sont parfaits et leurs harmonies raffinées. Sept duos sont inclus qui peut être joué par deux guitares ou par un instrument de la mélodie et de guitare. Ils ont de belles mélodies et sont faciles à effectuer. La première partie peut être jouée par les débutants. Ces duos peuvent être utilisés dans les situations avec les professeurs et étudiants jouant ensemble d'enseignement. Ecrit en notation seulement. / Niveau : Débutant / Jazz - Solos / Recueil / Guitare Classique