Doug Munro

TOTAL LATIN GUITARIST A Fun and Comprehensive of Latin Guitar Playing Doug Munro CD TABLATURE

The Total Latin Guitarist, A Fun and Comprehensive Overview of Latin Guitar Playing. BOOK WITH CD & GUITAR TABLATURE
By Doug Munro

LIBRO METODO DI MUSICA LATINA, CON CD. 

SPARTITI PER CHITARRA E BASSO CON : 

ACCORDI, PENTAGRAMMA, TABLATURE DELLA CHITARRA. 

BASSO SOLO IN PENTAGRAMMA.

Serie: The Total Guitarist
Categoria: Guitar Method or Supplement
Formato: Libro & CD
Instrumento: Chitarra

It’s time to infuse your playing with a little hot-blooded romance! The Total Latin Guitarist is an exciting journey into the world of Latin guitar playing. The book begins by teaching you soloing and accompaniment techniques used in all genres of Latin music, as well as the rhythmic backbone of many Latin styles, the clave. You'll learn to play in the Afro-Cuban styles of salsa, rumba, guaguancó, cha-cha-cha, mambo, and songo. You'll get a solid introduction to the Brazilian styles of choro, samba, batucada, partido alto, bossa nova, baião, and frevo. Other Latin styles featured are meringue (Dominican Republic); calypso, soca, and bachata (Trinidad); tango (Argentina); and ranchera, mariachi, norteño/conjunto, and tejano (Mexico). Aside from all of the important techniques involved with playing these styles, you will also learn all of the relevant theory. This book is for guitar players who are already familiar with the basics, but are looking to expand their vocabulary and repertoire in new and exciting ways. The CD features a full band demonstrating the examples in the book. 

This book is intended for the intermediate to advanced guitarist who hasan interest in exploring Latin guitar styles. To get the most out of this book, you should have a firm grasp on playing technique and theory, including scale theory, chord theory, and diatonic harmony. You should also be able to read standard music notation or tablature (TAB). For a refresher on some of these topics, refer to the Appendix on page 126.

The Total Latin Guitarist is a sampler of 23 different Latin music styles from six different countries. For every famous person mentioned in this book, there are many more that are not mentioned. In doing the research for this book, I found many contrasting explanations and points of view on musical and historical information. This book only includes material that musicians and historians are in general agreement about. Many of the common questions asked by musIcians studying Latin music are addressed in these pages. Concepts like the clave and specific rhythmic patterns are explained and demonstrated. All of the examples are hands-on, practical solutions for creating the distinctive sounds of each style. The Total Latin Guitarist, while not a history book, provides some background on each style of music played. Gaining a historical perspective on the music helps in interpreting and understanding the particular harmonic and rhythmic patterns intrinsic to each style. Every recording listed in this book is still available (at least at the time of this publishing). It is vital that you listen to the music that you study in this book. There are subtleties that can only be learned through immersing yourself in the music. Be sure to memorize the musical examples and play along with the recorded tracks on the CD. As you master the information in this book, it is vital that you go out and play it. Get together with like-minded musicians and play in these styles. There is a whole other education you get from playing and sharing this music with others. Most of all, it is so much fun to feel the groove and be a part of making this unique and exciting music. A compact disc is available with this book. Using the disc will help make learning more enjoyable and the information more meaningful. Listening to the CD will help you correctly interpret the rhythms and feel of each example. The symbol to the left appears next to each song or example that is performed on the CD. Example numbers are above the symbol. The track number below each symbol corresponds directly to the song or example you want to hear. Track I will help you tune your guitar to this CD.

Doug Munro is a critically acclaimed New York jazz guitarist. Since 1987, he has released I I albums as a bandleader and has appeared on over 50 recordings as a sideman, producer, and arranger, working with a diverse array of artists including Dr. John, Michael Brecker, and Dr. Lonnie Smith. Doug has over 75 published compositions and over 300 recorded arrangements by the finest players on the scene today. Doug has received two Grammy nominations and two NAIRD awards. Amazon.com picked Boogaloo to Beck, which Doug performed on, arranged, and co-produced, as one of its Top Ten Jazz CDs of 2003. Doug also did orchestration work on the Oscar-winning 1997 documentary When We Were Kings. Doug continues to actively perform with around 100 live dates per year.

As an educator, Doug created and was Director of the Jazz Studies Program at The Conservatory of Music at Purchase College from 1993-2002. He continues to teach there as Director Emeritus. This esteemed jazz program boasts a faculty that includes John Abercrombie, Todd Coolman, Jon Faddis, Eric Alexander, John Riley, and many other top jazz performers. Doug has written three books on jazz improvisation for Alfred Music Publishing: • Swing to Bebop (Alfred 00-0388B) (Winner of The Music and Sound Retailers' Instructional Book of the Year Award in 2000)

• Bebop and Beyond (Alfred 00-0609B)

• Organ Trio Blues (Alfred 00-0758B)

Acknowledgements

There are many people who helped make this book possible. I would first like to thank Aaron Stang, my longtime editor and friend, from back in the Warner Brothers days. After Alfred Music Publishing merged with Warner, it was Aaron who put me in touch with the people at Workshop Arts, who co-publish many instructional music books with Alfred. Thanks to Jason Shadrick for introducing me to everyone at Workshop Arts; he has always been very generous with his time and contacts, and his help and friendship has been invaluable to completing this project. Next up is Burgess Speed, my new editor; working with Burgess has been great, he has a solid view of the "big picture" but never loses sight of the small details involved in writing a meaningful book. I look forward to, hopefully, doing many more projects together. Thanks also to Gil Parris, a longtime friend and guitarist. His generosity in helping me with this, and pretty much every project I've ever done, is greatly appreciated. Lastly, I would like to thank the good Lord for his love and guidance and my wife, Kathleen, and my sons, Eugene and John, for their love and support.

 

About the Author

Introduction

Chapter I: Latin Accompaniment Techniques

Accompaniment Styles Without a Bass Instrument

Accompaniment Styles with a Bass Instrument

 

Chapter 2: Latin Soloing Techniques

Soloing Based on a Scale or Mode

Soloing Based on an Arpeggio

Voice Leading

 

Chapter 3: Clave

Son Clave

Rumba Clave

BossaClave

 

Chapter 4: Montuno/Guajeo

 

Chapter 5: Afro-Cuban 

Son 

Salsa 

Salsa solo

Rumba

Rumba Solo

Guaguancó

Guaguancó Solo

Cha-Cha

Cha-Cha solo

Mambo

Mambo Solo 

Songo

Songo Solo

Mozambique

Mozambique

 

Chapter 6: Brazil

Choro 

Choro Solo 

Samba 

Samba

Batucada 

Batucada Solo 

Partido Alto 

Partido A/to

Bossa Nova 

Bossa Nova Solo 

Baião .

Baião Solo .

Frevo .

Frevo Solo

 

Chapter 7: The Dominican Republic

Merengue

Merengue Solo

Bachata

Bachata Solo

 

Chapter 8: Trinidad

Calypso

Calypso Solo

Soca

Soca Solo

 

Chapter 9: Argentina

Tango

Tango Solo

 

Chapter 10: Mexico

Ranchera

Ranchera Solo

Mariachi.

Mariachi Solo

Norteño / Conjunto

Norteño Solo

Tejano

Tejano Solo

Conclusion

 

Appendix

Reading Tablature (TAB)

Scale Diagrams

Major Scale Theory

Intervals

Diatonic Harmony

Circle of 4ths/5ths

Extended Chords

Prezzo: €29,99
€29,99

JAZZ GUITAR ORGAN TRIO BLUES CD GUITAR TABLATURE Doug Munro chord CHORD voicings soloing

JAZZ GUITAR ORGAN TRIO BLUES. Doug Munro. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA JAZZ CON CD. 

SPARTITI PER CHITARRA CON : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

METODO, 

The 21st Century Pro Method: Jazz Guitar -- Organ-Trio Blues
By Doug Munro

Series: 21st Century Pro Method

Author: Doug Munro
Instrument: Guitar
Format: Spiral-Bound Book & CD
Page Count: 120
Item Number: 00-0758B
ISBN 10: 0-7579-3727-6
ISBN 13: 978-0-7579-3727-9
UPC: 654979087212
CATEGORY: Guitar Method or Supplement

The most complete method for any guitarist seeking a better understanding of the blues roots of jazz guitar. Based on the styles of the classic organ-trio guitarists of the '60s, such as Wes Montgomery, Grant Green, Kenny Burrell, and George Benson, this book explores all the concepts and techniques required to play in this foundational style. The book includes riffs and patterns, music theory, scales, modes, chord voicings, arpeggios, and soloing. Over 120 music examples and six complete solos in the styles of many jazz greats are used to place all concepts into a practical musical context. A CD with music examples is included !

 

CONTENTS/CD TRACKING Page Number CD Track

CHAPTER ONE:
THE MINOR PENTATONIC AND BLUES SCALES ....6
The Minor Pentatonic Scale (Examples 1–2)................................................6
Minor Pentatonic Scale Riffs (Examples 3–5) ...............................................8 .........................1–3
C Minor Pentatonic Scale-Tone Chords (Examples 6–10) .........................10
C Minor Pentatonic Scale-Tone Chord Riffs (Examples 11–13).................12 ........................4–6
Arpeggios in the Minor Pentatonic Scale (Examples 14–16) ....................15
Arpeggio Riffs in the Minor Pentatonic Scale (Examples 17–19)..............16 ........................7–9
The Blues Scale (Examples 20–21) ................................................................18
Blues Scale Riffs (Examples 22–24)................................................................20 ....................10–12
C Blues Scale: Scale-Tone Chords (Examples 25–26).................................22
C Blues Scale: Scale-Tone Chord Riffs (Examples 27–29) ..........................24 ....................13–15
C Blues Scale: Scale-Tone Arpeggios (Examples 30–31) ...........................26
C Blues Scale: Scale-Tone Arpeggio Riffs (Examples 32–34).....................26 ....................16–18
Summary Solo #1 (Example 35) ....................................................................28 ..........................19
 
CHAPTER TWO:
THE MAJOR PENTATONIC SCALE....................................30
The Major Pentatonic Scale (Examples 36–37)...........................................30
Major Pentatonic Scale Riffs (Examples 38–40) ..........................................32 ....................20–22
Major Pentatonic Scale-Tone Chords (Examples 41–43)...........................35
Major Pentatonic Scale-Tone Chord Riffs (Examples 44–46).....................37 ....................23–25
Major Pentatonic Scale-Tone Chord Arpeggios (Examples 47–48) .........40
Major Pentatonic Scale-Tone Chord Arpeggios Riffs (Examples 49–51)..42 ....................26–28
Summary Solo #2 (Example 52) ....................................................................44 ..........................29
 
CHAPTER THREE:
COMBINING MAJOR AND MINOR
PENTATONIC SCALES..................................................................48
Major and Minor Pentatonic Scales Over a Major Blues Progression
(Example 53)..............................................................................................48 ..........................30
Major and Minor Pentatonic Scales Over a Minor Blues Progression
(Example 54)..............................................................................................49 ..........................31
Major and Minor Pentatonic Scales, and the Blues Scale,
Over Individual Chords ...........................................................................51
Major and Minor Pentatonic Scales, and the Blues Scale,
Over a Major Blues Progression (Example 55) .......................................51 ..........................32
Major and Minor Pentatonic Scales, and the Blues Scale,
Over a Minor Blues Progression (Example 56) .......................................52 ..........................33
Major and Minor Pentatonic Arpeggios Over a
Major Blues Progression (Example 57) ....................................................54 ..........................34
Major and Minor Pentatonic Arpeggios Over a
Minor Blues Progression (Example 58).....................................................55 ..........................35
CONTENTS/CD TRACKING Page Number CD Track
Major and Minor Pentatonic Arpeggios Over a
Major Blues Progression (Example 59) ....................................................57
Major and Minor Pentatonic Arpeggios Over a
Minor Blues Progression (Example 60).....................................................58 ..........................36
Summary Solo #3 (Example 61) ....................................................................60 ..........................37
 
CHAPTER FOUR:
THE DOMINANT 7 PENTATONIC SCALE ...................62
The Dominant 7 Pentatonic Scale (Examples 62–63) ................................62
Dominant 7 Pentatonic Scale Riffs (Examples 64–66)................................64 ....................38–40
Dominant 7 Pentatonic Scale-Tone Chords (Examples 67–68).................66
Dominant 7 Pentatonic Scale-Tone Chord Riffs (Examples 69–71) ..........68 ....................41–43
Dominant 7 Pentatonic Scale-Tone Chord Arpeggios
(Examples 72–73).......................................................................................71
Dominant 7 Pentatonic Scale-Tone Chord Arpeggio Riffs
(Examples 74–76).......................................................................................73 ....................44–46
Summary Solo #4 (Example 77) ....................................................................76 ..........................47
 
CHAPTER FIVE:
MINOR PENTATONIC SCALE
SUPERIMPOSITION .......................................................................78
Minor Pentatonic Scales Over Major 7 Chord Riffs (Examples 78–81) .....79 ....................48–51
Minor Pentatonic Scales Over Minor 7 Chord Riffs (Examples 82–89) .....81 ....................52–59
Playing Superimposed Pentatonics Over Chord Changes
(Example 90)..............................................................................................84 ..........................60
Summary Solo #5 (Example 91) ....................................................................86 ..........................61
 
CHAPTER SIX:
SEQUENTIAL GROUPS ...............................................................88
1–2–3–5 Sequential Group Fingerings (Example 92) ..................................89
1–2–3–5 Sequential Group Riffs (Examples 93–95)......................................90 ....................62–64
1–2–4–5 Sequential Group Fingerings (Example 96) ..................................93
1–2–4–5 Sequential Group Riffs (Examples 97–99)......................................94 ....................65–67
1–%3–4–5 Sequential Group Fingerings (Example 100) ...............................97
1–%3–4–5 Sequential Group Riffs (Examples 101–103).................................98 ....................68–70
1–%3–4–%6 Sequential Group Fingerings (Example 104) .............................101
1–%3–4–%6 Sequential Group Riffs (Examples 105–107)...............................102 ...................71–73
Summary Solo #6 (Example 108) .................................................................104 .........................74
 
CHAPTER SEVEN:
LIBRARY OF BLUES CHORD PROGRESSIONS .....106
12-Bar Major Blues Progressions (Examples 109–123)*...............................106............MP3: 1–15
12-Bar Minor Blues Progressions (Examples 124–130)*...............................114..........MP3: 16–22
*This book comes with an expanded CD featuring 22 bonus MP3 play-along tracks for Examples 109–130. To
access these bonus play-along tracks, place the CD in the CD-ROM drive of your computer. Double-click the
My Computer icon and open the drive containing the CD. Open the Play-Along Tracks folder.
 
CHAPTER ONE:
The Minor Pentatonic and Blues Scales
The first scale most guitar players learn is usually the minor pentatonic scale. What a revelation this scale
is—every note sounds great! This scale has symmetry, intervallic leaps, chord tones, and blue notes.
The minor pentatonic scale lies nicely on the fingerboard and is easy to visualize as box patterns on the
guitar’s neck. It’s a pity that as most jazz guitarists progress, they tend to dismiss the minor pentatonic scale as
a “baby” or “beginner’s” scale. This undervalues the scale and deprives the jazz player of one of the most powerful
improvisatory tools at his disposal. The aim of this book is to wake up your dormant pentatonic chops and
demonstrate how far you can take these little “beginner” scales.
The Minor Pentatonic Scale
The minor pentatonic scale is made up of five (penta) notes arranged in a specific order. If you relate the minor
pentatonic scale to the major scale, you have the root, ≤3rd, 4th, 5th, and ≤7th. The examples in this chapter
use the C minor pentatonic scale.
Don’t forget to play all the exercises in this book in all 12 keys, and don’t forget to use your metronome!
Example 1 is a C minor pentatonic scale.
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