SKU: AP.1-ADV10025
ISBN 9783892212553. UPC: 805095100259. English.
After the success of his first publication A Chordal Concept for Jazz Guitar, renowned Australian guitarist Peter O'Mara explores the depths of jazz improvisation from a guitarist's point of view. This new book covers a wide variety of topics---scales, intervals, triads, non-tertial triads, four-note structures, five-note structures (pentatonic scales), as well as useful practical exercises. Fourteen modes and their applications are covered in detail. The book also includes a play-a-long CD, MIDI files, as well as a demonstration CD. A must for the contemporary jazz guitarist! Titles: Introduction * Triads * Four-Note Structures * Diatonic Relationships * Examples and Modal Exercises * Ezam * The Wheel * About the Author.
SKU: AP.1-ADV14786
ISBN 9783892212164. UPC: 805095147865. English.
Intermediate Jazz Conception is another addition to the popular series of etude books created by Jim Snidero, featuring some of the finest jazz musicians in the world. This book/audio set includes 15 etudes based on standards, modal tunes and blues, demonstrated by Joe Cohn on guitar with the incredibly swinging rhythm section of Dave Hazeltine on piano, Peter Washington on Bass and Kenny Washington on Drums. New to Intermediate Jazz Conception is an appendix dedicated to style and improvisation, including a scales syllabus, nomenclature, and over 95 lines and ideas extracted for the study of improvisation! The recording features two separate versions of each etude; one with the soloist and rhythm section and one with the rhythm section only. Hear how the soloist performs the etudes, play with or without the soloist, and learn about both jazz style and improvisation from some of the best. Other series available by Jim Snidero: Easy Jazz Conception and Jazz Conception.A talented musician, musical advocate and educator ... a genuinely significant figure in jazz composition Penguin Guide to JazzA master musician Down Beat Magazine.
SKU: DZ.DZ-4308
ISBN 9782898522253.
Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture àlaquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'à Âuvre m'a amené àtrouver des titres qui invitaient l'interprète àapprofondir l'inspiration esthétique de l'à Âuvre. J'ai donc suggéré àGiorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu àquatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée àla Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue àla manière de Buxtehude (qui vivait àLübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né àHalle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait àMagdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'à Âuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'à Âil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des à Âuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'àcelle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'à Âuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'àla fin de la Chaconne de Magdebourg. Je souhaite àGiorgio et àë notre û Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
SKU: MB.22115M
ISBN 9780786696840. 8.75 x 11.75 inches.
Arpeggios are chord notes played one at a time rather than strummed or plucked all together. They are an essential part of great improvising and melody writing because playing chord notes in the right places creates solid melody lines. Chord notes sound more resolved than notes that are chromatic out of the key . Practicing arpeggios will improve your ability to learn melodies, make reading music easier, and develop your tone and picking accuracy. The first part of this book focuses on the basic fingerings of the following six arpeggios: major 7th, major 7th #5 , dominant 7th, minor 7th, minor 7th b5 , and diminished 7th. This book along with its accompanying audio represents a comprehensive guide to all things arpeggio. It delves into traditional applications of arpeggios, as well as how they relate to slash chords, modal music and more. The student will learn about how arpeggios fall over standard chord progressions, as well as how to embellish arpeggios to make them more musical in performance situations. In standard notation and tab. Includes access to online audio.
SKU: HL.49005909
ISBN 9790001064057.
SKU: DZ.DZ-4295
ISBN 9782898522123.
Ce cycle de 20 études pour guitare seule a comme model les ouvrages didactiques de Bela Bartok, telles que For Children ou Mikrokosmos. Lâélément commune est lâusage de thèmes provenant du folklore dâenfants, car lâHongrie et surtout la Roumanie, sont très riche à cet égard. Toutes les chansons (développées) de ce volume sont trouvées dans la musique rituelle dâenfants de mon pays. Les études-miniatures sont des exercices polyphoniques et harmoniques qui seront très utile pour les jeunes guitaristes. Les structures modales donnent une saveur unique a cette partition et invite les musiciens à découvrir une tradition musicale étonnante.This cycle, containing 20 studies for solo guitar is inspired from Bela Bartokâs didactical works, such as For Children or Mikrokosmos. The common element found in his works and mine are the themes coming from the children folk music which are very rich in Hungary and moreover in Romania. All the developed songs I used in this volume are a little part of the ritualic music of the Romanian children. These little studies are polyphonic and harmonic exercises which are very useful for the young guitarists. The modal structures give to this score a unique flavor and invite the musicians to discover an astonishing music tradition.
SKU: UT.CH-106
ISBN 9790215315921. 9 x 12 inches.
The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of â??music for childrenâ?? but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more â??traditionalâ?? courses of study. As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite â??simpleâ??.I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write â??descriptiveâ?? music, I have tried to handle these pieces like stage scripts, giving each a specific â??characterâ??. For this purpose my long experience as a composer of theatre music has been very helpful.It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.(Carlo de Nonno).
SKU: UT.CH-159
ISBN 9790215320390. 9 x 12 inches.
With this Suite for guitar â?? whose main reference point is the baroque instrumental suite and its traditional dances â?? the interpreter takes a journey through various compositional styles (e.g. the use of microstructures, modality, atonality, harmony in fourths, whole-tone scales), in the form of a dance. Within the scope of this metacultural project, both performer and listener are presented with a musical juxtaposition where the baroque suite is always present as a historic reference. This project is aimed at an average level of guitar students where instrumental technique is equally as important as composition. In this respect, the Suite is useful in the areas of concert performance, in the teaching of instrumental technique and in compositional analysis.
SKU: MB.30943M
ISBN 9781513476933. 8.75 x 11.75 inches.
In this expansive book, versatile Argentine guitarist and teacher Pablo Pescatore provides a masterclass in the theory behind creative rock soloing. From the ground up, he presents the theoretical building blocks of major, minor, pentatonic, and modal scales followed by triads and seventh chords in all keys, not just the guitar-friendly ones. Then he proceeds to analyze rhythm in all common and uncommon time signatures before delving into 20 exotic scales.Written in standard notation and tablature, the truly unique aspect of this book is the authors insistence on improvising with an acute awareness of rhythmic, melodic, harmonic, and dynamic valuesnot just playing fast and loud in predictable patterns. Demonstrating his ideas in 120 audio examples and a final knock-out blues progression, Pablo encourages readers to write, sing and otherwise incorporate their own variations into their music, dramatically changing the audio landscape of rock guitar soloing. Includes access to online audio.
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