ACCORDI - PENTAGRAMMA

THE GUITAR CHORD SHAPES OF CHARLIE CHRISTIAN. CD TAB.

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover with CD
Artist: Charlie Christian
Author: Joe Weidlich

The concepts and fingerings in this book have been developed by analyzing the licks used by Charlie Christian. Chord shapes are moveable; thus one can play the riffs in virtually any key without difficulty by simply moving the shape, and fingerings used to play them, up or down the fingerboard. The author shows how the chord shapes - F, D and A - are formed, then can easily be modified to major, minor, dominant seventh and diminished seventh chord voicings. Analyzing licks frequently used by Charlie Christian, Joe has identified a series of what he calls tetrafragments, i.e., the core element of a lick. The identifiable "sound" of a particular lick is preserved regardless of how many notes are added on either side of it, e.g., pickup notes or tag endings. Many examples are shown and played on the CD of how this basic concept was used by Charlie Christian to keep his solo lines moving forward. Weidlich also makes observations on the physical manner Charlie Christian used in playing jazz guitar and how that approach contributed to his smooth, mostly down stroke, pick technique.

SWING FAVORITES GUITAR, Big Band Play-Along Volume 1.
CD

Composer: Various Composers

With the 10 fantastic big band charts in this book/CD pack, instrumentalists can play along with their favorite swing tunes! Includes:

Table of contents

April In Paris
I've Got You Under My Skin
In The Mood
It Don't Mean A Thing (If It Ain't Got That Swing)
Route 66
Speak Low
Stompin' At The Savoy
Tangerine
This Can't Be Love
Until I Met You (Corner Pocket)

23 pages

MAJOR BLUES FOR GUITAR VOLUME 1, A Study in Melodic Chord Linkage. CD TAB.

Series: Guitar Educational
Publisher: Bloom School of Jazz Publishing
Medium: Softcover with CD
Author: David Bloom

Major Blues for Guitar is the first in a series of studies written to give the serious musician a melodic approach to playing chords. There are hundreds of blues books out there, but none show how to put chords together melodically to make great-sounding music. This book/CD pack solves that problem in a practical manner. It takes only one 12-bar C-major blues chord progression and creates 21 different melodic lines from it. By mastering all of these exercises, students will acquire greater fluency and melodic flexibility in playing chords. 56 pages.

SITTIN' IN WITH THE BIG BAND [GUITAR], JAZZ ENSEMBLE PLAY-ALONG. CD

Sittin' In with the Big Band, Volume I
Jazz Ensemble Play-Along
Item: 00-27545
UPC: 038081293158
ISBN 10: 0739045199
ISBN 13: 9780739045190
Category: Instrumental Series
Format: Book & CD
Instrument: Guitar
Instrumentation: Guitar
Level: 2 (Easy to Medium Easy)

Performance Notes
How to Use This Book

Each arrangement has two CD tracks:

1) Demonstration track. The guitar part is in the mix. Listen to how your part is played by professional musicians to copy the comping style, rhythm, attack, phrasing, articulation, feel, style, and rhythm section blend.

2) Play-Along track. Your part has been taken out of the mix. You playalong with the big band.

3) See page 24 for Performance Notes.

4) There is a two-measure count-off click at the beginning of each playalong track.

Alfred Publishing Co. Inc. thanks the students of Mary Ward Catholic Secondary School Jazz Ensemble, Toronto, Canada, John Volpe, director, Vince Gassi, assistant director, and photographers Jackie Fong and Jermaine Ong.

Alfred Publishing Co., Inc. 16320 Roscoe Blvd., Suite 100

Sittin’ In with the Big Band, Vol. I is written at the easy to intermediate-easy level. It provides an opportunity to play along with a professional jazz ensemble to improve your playing, whenever you want. As you play with and listen to the outstanding players in the band, you’ll learn about blend, style, phrasing, tone, dynamics, technique, articulation, and playing in time, as well as a variety of Latin, swing, ballad and rock styles. Performance tips and suggestions are included in each book. Books are available for alto saxophone, tenor saxophone, trumpet, trombone, piano, bass, guitar, and drums. Features include 11 big-band charts arranged by a variety of top writers, solo improvisation opportunities, and a play-along CD with demo tracks.

Titles: Vehicle * Sax to the Max * Nutcracker Rock * Fiesta Latina * Now What * Goodbye My Heart * Two and a Half Men * Burritos to Go * Drummin’ Man * Swingin’ Shanty * and Play That Funky Music.

TITLE COMPOSER
Burritos to Go - Victor Lopez (composer)
Drummin' Man - Gene Krupa (composer); Tiny Parham (composer)
Fiesta Latina - Victor Lopez (composer)
Goodbye My Heart - Mike Smukal (composer)
Now What - Mike Kamuf (composer)
Nutcracker Rock - Peter Illyich Tchaikovsky (composer); Mike Smukal (arranger)
Play That Funky Music - Robert Parissi (composer) arranged: Victor Lopez
Sax to the Max - Mike Lewis (composer)
Swingin' Shanty - Ralph Ford (arranger)
Two and a Half Men (Main Theme) - Grant Geissman (composer); Lee Aronsohn (composer); Chuck Lorre
Vehicle - James Peterik (composer)

SERIES: Sittin' In with the Big Band
CATEGORY: Instrumental Series
FORMAT: Book & CD
INSTRUMENT: Guitar
LEVEL: 2 (Easy to Medium Easy)

Sittin’ In with the Big Band: Jazz Ensemble Play-Along is written at the easy to medium-easy level. It provides an opportunity to play along with a professional jazz ensemble to improve your playing 24/7. As you play along and listen to the outstanding players in the band, you’ll learn about blend, style, phrasing, tone, dynamics, technique, articulation, and playing in time, as well as a variety of Latin, swing, ballad and rock styles. Performance tips and suggestions are included in each book. Books are available for alto saxophone, tenor saxophone, trumpet, trombone, piano, bass, guitar and drums.

SITTIN' IN with the BIG BAND jazz ensemble play-along

features:
• Eleven big-band charts arranged by a variety of top writers
• Play-along CD with demo track
• Solo improvisation opportunities
• Performance tips/suggestions

Sittin 'In with the Big Band:
Jazz Ensemble Play-Along is written at the easy to mediumeasy level. It provides an opportunity to play along with a professional jazz ensemble to improve your playing 24/7. As you play along and listen to the outstanding players in the band, you'llieam about blend, style, phrasing, tone, dynamics, technique, articulation and playing in time, as well as a variety of Latin, swing, ballad and rock styles. Performance tips and suggestions are included in each book. Books are available for alto saxophone, tenor saxophone, trumpet, trombone, piano, bass, guitar and drums.

available books:

Alto Saxophone (27527)
Tenor Saxophone (27530)
Trumpet (27533)
Trombone (27536)
Piano (27539)
Bass (27542)
Guitar (27545)
Drums (27548)

27545 Book & CD
ISBN-10: 0-739 519-9
ISBN-13: 978-0-739G-45 9-0

Features:
Eleven big-band charts arranged by a variety of top writers
Play-along CD with demo track
Solo improvisation opportunities
Performance tips/suggestions

PERFORMANCE NOTES FOR GUITAR
Playing guitar in a big band is challenging but very rewarding. Here are a few specific tips for playing
guitar in a big band:
• Within the typical rhythm section, the guitar and piano must work especially close. Share the
camping duties. Always be sensitive to blend with the rhythm section and the ensemble.
• "Comping" means to accompany or compliment. Always keep it simple, tasteful and supportive.
Lessis more.
• Various responsibilities for the guitarist are: com ping, supporting the ensemble harmony and
rhythms, playing individual lines with wind players, soloing, and supporting various soloists.
• Slash marks indicate to camp using three or four note chords usually in a quarter note rhythm
pattern. Typically, the third and seventh are the most important notes in a seventh chord.
• Become skilled at reading both chord changes, written notes and creating chord voicings.
• Always be sensitive to your volume and sound. Begin by setting the tone controls on the
amplifier to the mid-point and then adjust as needed. For a rock tune, the goal is to approximate
an electric guitar sound, but for a jazz swing tune, strive for a hollow body jazz guitar
sound with dark overtones. Listen to examples of these different types of instruments for reference.
• The guitar part is a guide and suggestion of what to play. Depending on your ability and
experience, you can play the part as written or embellish but with good taste and musicality. Always listen!
• Generally, in a big band chart, when there is a written out part with no chord symbols, the arranger
wishes the part played as written. When there are only chord changes and/or slashes,
then comp in the style of the chart.
• For a sound that blends, consider using medium thickness picks which will give the sound a
bright, acoustic quality and hold the pick loosely between the thumb and index finger.
• For a swing style comp of quarter notes, strum straight quarter notes trying to cut off (mute)
the sound of the chord right after striking the strings. Strum from the elbow; giving a bright,
swinging sound that propels the rhythm section forward.
• The guitarist's quarter note comping style should perfectly mesh so that the guitar and bass merge into one big sound.
• If the chord has extensions you don't recognize, play the third and seventh (sixth) of the chord.
There is a two-measure count-off click at the beginning of each play-along track

Vehicle:
1) A rock style chart, dig in and play more aggressivelythan usual and strive for a brighter sound, but
don't overdo the volume.
2) The written camping rhythms are also played by the piano, so listen, blend and lock in the feel.
3) Measure 65 isa rubato trombone solo. In 66, the drumset playsa fill in-tempo to bring you in for the last two measures.

Sax to the Max:
1) In the introduction, play the written notes with the saxesand brass.Listenand blend.
2) This chart callsfor basiccamping in the jazz swing style. Playquarter notes with a muted sound.
3) If the chord hasextensionsyou don't recognize, focus on the third and seventh of the chord.

Nutcracker Rock:
1) Playmeasures 5-8 with a bell-like sound-play it clear and let it ring.
2) Although this isa rock style chart, avoid a radical rock tone-blend.
3) At measure 37, listen and match the articulation and phrasing with the horn players ... 

JETHRO TULL, FLUTE SOLOS.

As Performed by Ian Anderson
Series: Artist Books
Artist: Ian Anderson
Artist: Jethro Tull

Flute solos from 18 Jethro Tull songs have been transcribed for this collection. Songs include:

Baker St. Muse
Big Dipper
Bouree
Bungle In The Jungle
Chequered Flag (Dead Or Alive)
Cross-Eyed Mary
Cup Of Wonder
Fire At Midnight
From Later
Living In The Past
Look Into The Sun
My God
Nothing Is Easy
Passion Play Edit #8
Thick As A Brick
Third Hurrah
The Whistler
The Witch's Promise

These solos are transcribed from the albums on which the songs may be found and, as such, are difficult to play (in true Ian Anderson intense, dynamic fashion). As the solos are excerpts from the complete pieces, they are often improvisational passages, containing different melodic ideas and voicings, and may not always include the original melody.

EXPLANATION OF THE FLUTE SYMBOLS

To achieve some of the techniques Ian Anderson employs on his flute

we've added the following notations to the arrangements:

01 = first harmonic

02 = second harmonic

sing = sing into the flute

ord. = stop sing

fl. = flutter tongue

sing S = sing in the shape of the line

0/ = increasing harmonics

The harmonics are achieved merely by overblowing until the next higher note (overtone) sounds. For the second harmonic, blow until the second higher note sounds. The increasing harmonics are achieved by gradually blowing harder and harder to get as many harmonics as possible.

Singing into the flute may be awkward at first. It is recommended that you learn the pieces first without the singing, then add the effect later. Sing the written note in the octave most comfortable for your voice. It is important to keep the airstream moving fast so there will be a good balance between flute and voice. Ian Anderson has a distinct "dark" sound. In playing these pieces you may wish to play with the blow hole of your flute a little more covered than normal, and blow down into it more. The "dirty" passages should be played with a heavy tongue and almost overblown. You should, however, be careful not to let these techniques become habit.

48 pages