YORK ANDREW, THE CLASSICAL GUITARIST'S GUIDE TO JAZZ, Expand Your Playing with a New Style.
The Classical Guitarist's Guide to Jazz
Expand Your Playing with a New Style
By Andrew York / ed. Nathaniel Gunod
Item: 00-35452
UPC: 038081396484
ISBN 10: 0739071599
ISBN 13: 9780739071595
Category: Guitar Method or Supplement
Format: Book & MP3 CD
Instrument: Guitar
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.
INTRODUCTION
There is a desire among many classical guitarists to learn how to play some jazz on the classical
guitar. But they often have expressed reservations or even fear when confronted with the idea
of playing jazz, reading jazz charts or improvising. I've designed the first section of this book to
help classical guitarists learn the necessary harmonic skills to play jazz with confidence and to
have some fun doing it.
Learning jazz harmony will be the focus of this first section; before chord/melody or improvising
with scalesor modes can be learned effectively, it's vital to have a solid grasp of jazz harmony.
Sothat is where I chose to begin.
There are some basic differences between the jazz and classical worlds. Compared to classical
music, jazz uses a different style of notation and has a different rhythmic sensibility. We'll
talk about this, since understanding these differences is important for gaining fluency and
authenticity in playing jazz.
You'll find the layout is not strictly linear; though I've tried to progress somewhat logically, I've
also digressed frequently and put in many things that will stretch you every step of the way. I
didn't want to spoon-feed you. Getting the most out of this book will require your participation and study.
Most of all, I hope you find some inspiring new directions for your music. Enjoy.
EDITOR'S PREFACE
At the National Guitar Workshop, the divisions between different styles of guitar playing have
never been drawn with a heavy line; we have always encouraged as much "cross-fertilization"
as students are comfortable receiving. So it was a no-brainer when Andrew first suggested a
course designed to teachjazz guitar to classical guitarists.
This book assumes you play classical or fingerstyle guitar on at least an intermediate level and
have a basic understanding of music theory. There is a quick review of the basics of theory on
page 64, but we make no pretenses about it being complete. If harmony is not a strong area for
you, you may want to brush up a bit.
Guitarists tend to be fun-loving, gregarious and curious, which is one very important reason
why the level of technical skill and musicianship among us continues to improve with each new
generation of players. We believe this book will appeal to that wide streak of curiosity and joy
in music making-music of all kinds-among our fellow guitarists.
HARMONY CONTENTS
About The Author
Introduction
Editor's Preface
CHAPTER ONE Chord Families
Major Family Chords
Major Muse (with Slashes)
Major Muse (Possible Comp)
Major Muse (Another Possible Camp)
Dominant Family Chords
Prominent Dominant.
Prominent Dominant (Another Possible Camp)
Minor Family Chords
Minor Line
Minor Line (Another Possible Camp)
Review
CHAPTER TWO - Five-Position Chords
Five-Position Chords
Five-Position Chords Along the Fingerboard
Five-Position Major 7 Chords
Five-Position Chords Across the Fingerboard
Five-Position Dominant Chords Along the Fingerboard
Five-Position Dominant Chords Across the Fingerboard
Five-Position Minor Chords Along the Fingerboard
Five-Position Minor Chords Across the Fingerboard
CHAPTER THREE - Reading Jazz Charts
Identify the Chord Family
Chart Reading Details
Chart Reading General Summary
Chart Examples
Inversions
Diminished Chords
CHAPTER FOUR - Dominant Chords
Altered Dominants
Playing Altered Dominants
Diminished 7th Chords
Altered Dominants and Minor Keys
Dominant Chord Chart
CHAPTER FlVE - ii-V Progressions
A ii-V Exercise
Carefree
CHAPTER SIX - Three-Note Voicings
Inversions of Three-Note Voicings
Inversion Study
CHAPTER SEVEN - RHYTHM
Swing
Comping Samba and Bossa Nova Rhythms
Comping in the Style of Freddie Green
Comping with a Two-Beat (Half Note) Feel
Anticipations
Metronome Practice
CHAPTER EIGHT - The Blues
Secondary Dominants
Turnarounds
Joroy
CHAPTER NINE - Songs
Day One
Analyzing Day One
Day One (with Camping Examples
A and B)
Day One (Final Camping Example)
Day Two
Day Two
A Note on Minor 9 Chords
Day Three
Seulb
Carry On
Discography
Chord Voicings for Page
Theory Summary
CHORD / MELODY PLAYING
INTRODUCTION
What is chord/melody? Basically, it is playing a melody and the chords at the same time. In
a way, playing a classical guitar piece is playing chord/melody, because everything is there,
melody and harmony-it is complete. But in jazz, chord/melody usually means a setting
of a standard, well-known song. These standards are learned by jazz players as part of the
traditional repertoire; at a gig anyone of these tunes can be called and everybody will know
it, both chords and melody. .
For guitar players, playing these standards with melody and harmony at the same time has
become known as chord/melody style. The aim of this section is to cover the skills needed to
play chord/melody. You'll find examples that are in the style of some of the jazz standards (the
standards themselves won't be used because of copyright restrictions), as well as exercises and
multiple harmonic settings of melodies.
This section presupposes that you have a functional grasp of harmony, and an understanding of
jazz harmony. You should also be able to read music, and have a functional right- and left-hand
fingerstyle technique. TAB is not used, though many of the notation examples also include chord
diagram boxes for help with visualization of chord shapes.
I hope you enjoy this book and learn a lot.
EDITOR'S PREFACE
he purpose of this section is to put the information from the first part of this book to work in a
chord/melody context; this, as the author points out, will be the most familiar jazz style to classical
and otherfingerstyle guitarists. An inquisitive, self-motivated classical or fingerstyle guitarist will
e able to use this section as ajumping-off point and enjoy a lifetime of music-making in this st'le.
s fun, and having this set of skills will help working guitarists fill out their sets on the gig.
An MP3 CD is included with this book to make learning easier and more enjoyable. The symbol shown
4 at bottom left appears next to every example in the book that features an MP3 track. Use the MP3s
to ensure you're capturing the feel of the examples and interpreting the rhythms correctly. The track
number below the symbol corresponds directly to the example you want to hear (example numbers
are above the icon). All the track numbers are unique to each "book" within this volume, meaning
every book has its own Track I, Track 2, and so on. (For example, The Classical Guitarist's Gutde to Jazz:
Harmony starts with Track I, as does Chord/Melody and Improvisation.) Track I for each book will help
you tune your guitar.
To access the MP3s on the CD, place the CD in your computer's CD-ROM drive. In Windows, doubleclick
on My Computer, then right-click on the CD icon labeled "MP3 Files" and select Explore to view
the files and copy them to your hard drive. For Mac, double-click on the CD icon on your desktop
labeled "MP3 Files" to view the files and copy them to your hard drive.
CHORD / MELODY CONTENTS
Introduction
Editor's Preface
CHAPTER ONE - Triads
First Word
MinorTriads in Closed Voicing
A Triad Tune
Chilean Tune with Closed Voicings;
MinorTriads in Open Voicing
Chilean Tune with Open Voicings
A Triad Tune
CHAPTER TWO - Harmonizing with Triads
Greensleeves
Greensleeves
Diatonic Harmony
Greensleeves Lead Sheet, A Section
Greensleeveswith Triads in Closed Voicing
Passing Tone Use in Chord/Melody
Greensleeves with Triads in Open Voicing
Greensleeves with Open and Closed Triads
Going up an Octave
Greensleeves Melody One Octave Higher
Greensleeveswith Open and Closed Triads
CHAPTER THREE – Greensleeves-Extending the Harmonies
Greensleeves with Extended Chords # 1 Greensleeves up an Octave
with Extensions 86
CHAPTER FOUR - Harmonizing Each Note of the Scale
Harmonizing the C Major Scale
with a C Major Chord
Harmonizing the C Major Scale with G7
A Sor Study Phrase
Harmonizing the C Major Scale with D Minor
Dominant Chord Chart.
Quartal Chords
CHAPTER FIVE - PassingTones and Deeper Harmony
Using Passing Tones
Using Passing Chords
CHAPTER SIX - Romanza
The Original
Romanza
Romanza Chord/Melody (
Romanza Duet
Tritone Substitutions
Romanza Chord/Melody solo
CHAPTER SEVEN - A Few of the Things You Might Be
A Few of the Things You Might Be-Lead Sheet
A Few of the Things You Might Be-Chord/Melody
CHAPTER EIGHT - Autumn Sleeves
Autumn Sleeves-Lead Sheet
Autumn Sleeves-Chord/Melody # 1
Autumn Sleeves-Chord/Melody #2
CHAPTER NINE - Lagrima de Nuevo
Lagrima.
Lagrima de Nuevo-Chord/Melody .
CHAPTER TEN - Ode to Joy
Ode to Joy.
CHAPTER ELEVEN – Blues for J.D.
Blues for J.D .
A Final Word .
Romanza with Chord Changes .
IMPROVISATION
INTRODUCTION
To pick up the guitar and play music without knowing what you will play-this is the thrill of
improvising, or creating music spontaneously, and ajoy to which many players feel drawn but at
the same time find intimidating. I wrote this book to help classical players (and players in other
styles too) begin to find their way toward improvising on the guitar. The approach I've taken
for this book is to explore the basics of single-line improvisation over jazz-style harmony. Right
from the beginning, we will work with "the color of sound" to help the ears identify each note
as it relates to a harmonic base.Then we will begin improvising in open position right from the
start. After we get a feel for approaching the guitar in this spontaneous way, we will begin to
work with scalesand chord forms to build the skills necessary for improvising single-line solos
over chord progressions.
hope this book helps to demystify the world of jazz improvisation and inspires you to greater
spontaneity and creativity on your guitar.
An MP3 CD is included with this book to make learning easier and more enjoyable. The symbol shown
at bottom left appears next to every example in the book that features an MP3 track. Use the MP3s
to ensure you're capturing the feel of the examples and interpreting the rhythms correctly. The track
number below the symbol corresponds directly to the example you want to hear (example numbers
are above the icon). All the track numbers are unique to each "book" within this volume, meaning
every book has its own Track I, Track 2, and so on. (For example, The Classical Guitarist's Guide to jazz:
Harmony starts with Track I, as does Chord/Melody and Improvisation.) Track I for each book will help
you tune your guitar.
To access the MP3s on the CD, place the CD in your computer's CD-ROM drive. In Windows, doubleclick
on My Computer, then right-click on the CD icon labeled "MP3 Files" and select Explore to view
the files and copy them to your hard drive. For.Mac, double-click on the CD icon on your desktop
labeled "MP3 Files" to view the files and copy them to your hard drive.
CONTENTS
Introduction
Editor's Preface
CHAPTER ONE - Colors of Scale Tones
Root Note (R),orTonic
Perfect 5th (P5)
Major 3rd (M3)
Perfect 4th (P4), or 11th
Major 2nd (M2), or 9th
Major 6th (M6), or 13th
Major 7th (M7)
CHAPTER TWO - Improvising with G Ionian, Lydian and Mixolydian in Open Position
G Ionian, or Major
G Lydian
G Mixolydian
CHAPTER THREE - Open Position Scale Work
Permutating the Major Scale
3rds
Sequence of Four Notes
6ths
Arpeggio Permutation
Chord Tones Within Scale Forms-ii, V and I
CHAPTER FOUR - ii-V-I in Open Position
Am7: Improvising in Two-Measure Phrases
D7: Improvising in Two-Measure Phrases
GMaj7: Improvising in Two-Measure Phrases
ii and V Chords Together
ii, V and I Chords Together
Adding an E7 Chord
CHAPTER FIVE - 2nd Position Chords and Scales in G Major
CHAPTER SIX - Fly Me Through the Tune If Changes
Fly Me Through the Tune (2nd Position Voicings)
The ii Chord in E Minor
The V Chord in E Minor
Beginning to Improvise Over the Progression
Fly Me Through the Tune (Improv to "Slow Changes" -2nd Position)
CHAPTER SEVEN - 7th Position Chords and Scales in G Major
Voicings for "Fly Me Through the Tune"
CHAPTER EIGHT Seeing How Changing Chord Tones Relate to Each Other
Fly Me Through the Tune (7th Position Improv)
Conclusion
Afterword
Developing Your Ear
Appendix
Modes of the G Major Scale
Seven Modes Beginning on G
Italiano
English
