From the composer: "What are Morphs? Morphs are tiny compositions. I wrote them as springboards for improvisation. Most Morphs are under four measures; a few are longer. I wrote these little pieces on piano, but any instrumentalist or vocalist can adapt them. They can also be played in groups. Morphs can be played as written -- with no improvisation -- to practice rhythmic dexterity and keeping a steady pulse. However, you'll have the most fun with these pieces if you have some knowledge of improvisation, scales, modes and chord symbols, or if you have an experienced improviser to work with. As you can see, Morphs are not just in major and minor scales; they are also in some of the various modes and occasionally a pentatonic scale. The time signatures also vary. Try playing the Morphs as written for a few cycles, then branch out and start improvising. There are no rules. In fact, you can change meter or key as desired. These pieces are meant to spark your own improvisations. Musically yours...Mikael Elsila (composer), melsila@hotmail.com". Watch Morphs in action at www.bitly.com/morphsetudesforimprovisation . Morphs are (c) Mikael Elsila and registered with ASCAP. Contact the composer at melsila@hotmail.com.

8.75 x 11.75 inches.

At first hearing, fingerstyle solo jazz guitar can be more than a little overwhelming. Melding together are improvised lead lines and chordal work and bass lines and rhythmics. Relax. Since you already play jazz with a pick, you are familiar with many of the musical elements used in fingerstyle jazz. It is just that it may not be obvious to you what, specifically, fingerstyle concepts and techniques are. That is exactly where this book begins.

?Little Studies?, for piano solo (1998 ? 2002). 12 Studies,( 1st and 2nd volume) each of different style, character and technical demands using at the beginning a very simple tonic idiom, growing gradually to apply composition with symmetry of intervals, jazz harmony and free serialism. Parts of the work has been performed by Valeria Athanasiadou at ?Athenaeum? Concert Hall?, Athens in 2002.
Ι.
a. ?First Steps?, for the Five Fingers
b. ?Gnome?, for the Staccatto ( to Gyorgy Ligeti)
c. ?Clouds?, for the ?Tenutae?
d. ?Gallop?, for the Crossing Hands
e. ? A Knight?s Fanfare?, for the Chords
f. ?Sentiments?, for the sonority (to Bernard Hermmann)
II.
a. ?Nocturne?, for the Sostenuto Pedal (to Keith Jarret)
b. ?Sorrow?, for Multiple Layers
c. ?Step by Step?, for the Wrist
d. ?Riddle?, for the Subtle Dynamics (to Anton Webern)
e. ?Fire Dance?, for the Large Intervals (to Arnold Scoenberg)
f. ?Jazzy?, for the ?Swing? Feeling (to Thelonius Monk and Cecil Taylor)
https://www.youtube.com/watch?v=qt_UFYkamQA

You want to know how modern songs in old church modes could sound? Let yourself be enchanted by these 7 wonderful & characteristic pieces in ionian \| dorian \| phrygian \| lydian \| mixolydian \| aeolian \| locrian.

For the intermediate pianist and jazz piano lover.

As a bonus and present from me, you will get a quick explanation about how to use these scales for your own modern sounding songs in old modes!

Hear all 7 songs on Spotify or YouTube:
https://spoti.fi/2X3xfnq
https://bit.ly/2RB2rtt

Check out my social media for more!
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Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.

1. Cranium
This duet presents the cantabile ?singing? style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.

2. Stirrup
This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos ? a common choice for all of the duets.
3. Humerus
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.
4. Vertebra
This is in a ?rock? style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.
5. Axis
Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.
6. Tibia
This duet alternates in rock style and swing. Articulations and manipulation of ?swing? rhythms are important.
7. Clavicle
The key of A for this duet provides variation for the students.
8. Fibula nd
This duet uses the easiest of rhythms and range, especially for the 2
9. Scapula
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.
10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.

(student) part.

11. Radius
This duet is in a ?Medium Swing? jazz style. Each part has a chance to play a little bit of a ?walking? bass line. Articulations and manipulation of ?swing? rhythms are important in this duet.
12. Femur
This duet works on double time and half time tempo changes.
13. Patella
This is another duet that includes graphic notation. In this duet ?Free rapid legato lines? are used.
14. Anvil
This gallop displays different types of articulation.
15. Hammer
This duet is in the style of a fanfare.
16. Rib
This duet is a melody, ?Magallon Blues?, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.
17. Sacrum
This duet is a short arrangement of Mozart?s ?Eine Kleine Nachtmusic?.
18. Ulna
This duet is a short arrangement of the traditional Irish folk song ?Londonderry Air?, more commonly known as ?Danny Boy?.
19. Ilium
This duet is a short arrangement of the Beethoven?s song ?Ode to Joy? which represents the triumph of universal brotherhood against war and desperation.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

ISBN 9781610652117.

Chord-Lead Soloing for Guitar is a complete method for developing fluid double-stop chord melody. This style of playing can be heard most notably in the playing of Jimi Hendrix (in songs such as 'The Wind Cries Mary', Little Wing', and 'Castles Made of Sand'), as well in the music of the guitarists he influenced, including Steve Vai, Eric Johnson, and Stevie Ray Vaughan. Chord-lead style playing bridges the gap between straight lead and strictly rhythm, because it is simultaneously chordal (implying a specific major or minor chord) and melodic (carrying a distinct singable melody). This book shows the guitarist how to develop this technique and create continuous connections of moving voicings, merging lead and rhythm into one flowing melodic chordal texture. This is accomplished through a comprehensive collection of chord-lead phrases, each of which is presented in at least three different fingerings (important for whole-neck flow). These phrases are then assembled into soloing etudes that demonstrate practical application over different chord progressionsChord-lead playing can be adapted to every style of music, including rock, jazz, blues, alternative, funk, RandB, country, and pop. Mastering chord-lead soloing also greatly increases a guitarist's ability to 'stand alone'; that is, to play by himself unaccompanied by other musicians, mixing and switching between chording and lead improvisation. This book is perhaps the most definitive guide ever written for mastering this highly sought after (yet elusive) style of playing. Audio download available online. Standard notation and tablature.