PLAYING THE CHANGES: GUITAR. A Linear Approach to Improvising. Mitch Seidman, Paul Del Nero. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.
LIBRO METODO DI MUSICA JAZZ CON CD.
SPARTITI PER CHITARRA CON:
ACCORDI, PENTAGRAMMA, TABLATURE.
Series: Berklee Labs
Publisher: Berklee Press
Medium: Softcover with CD
Author: Mitch Seidman
Author: Paul Del Nero
GUITAR: IMPROVISATION
Effective improvisation can add fun and individuality to guitar performances. This book presents a unique improvisation strategy based on ear training and a linear interpretation of note/chord relationships. You'll learn how to: develop an expectation of sound - master the relationships between notes, modes and harmonies - improvise over jazz standards - identify pitch tendencies within chord progressions, and more. 128 pages.
Create more expressive solos
Effective improvisation can add fun and individuality to guitar solos. In Playing the Changes—Guitar, Mitch Seidman and Paul Del Nero present a unique improvisation strategy based on ear training and a linear interpretation of note relationships.
In this technique, improvised lines are derived from the harmonic construction of chord progressions. Learn how to choose appropriate notes by listening for the tendencies of pitches within modes and tetrachords—groupings of four notes in a scale. InPlaying the Changes—Guitar, you'll explore the possibilities of focused and linear improvisation, and develop your ability to create musically effective melodies with greater freedom and depth of expression.
Comprehensive, step-by-step instruction will guide you as you:
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Develop an expectation of sound—an intuitive sense for which notes to choose and where your chosen notes will lead the melody.
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Master the movement of notes over modes and harmonies.
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Use and learn from the examples on the included CD.
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Become comfortable improvising over jazz standards such as "Blue Bossa," "Tune Up," and "Long Ago and Far Away."
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Create your own chord pads to use as you practice recognizing the tendencies of pitches within chord progressions.
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Tablature included.
If you can read traditional notation and chord symbols, have a basic understanding of functional harmony and have a basic technical capability, you can use this book to learn how to improvise and become more expressive and creative in your music making.
BUZZ
"Very thoughtful and insightful book by Mitch Seidman and Paul Del Nero. This is geared to an intermediate to advanced level of student, but a beginner can certainly find good practice material. The tetrachord ideas are a unique way of addressing the problems of improvisation. If students apply themselves to the exercises, much progress can be made. Highly recommended!"
—Jack Wilkins, Guitarist and Educator
"Mitch Seidman and Paul Del Nero have assembled an impressive and comprehensive book of patterns, exercises, and etudes that really get inside the secrets to jazz improvisation and open up new possibilities to the guitarist at any level of their development. Complemented with a great sounding CD of many different examples, I know I. myself', will find it helpful for a long time to come. Great job, Mitch and Paul!"
—Duke Robillard, Award-Winning Blues Guitarist
"Playing the Changes is a nuts-and-bolts, hands-on method for soloing. Real concepts that will yield real results. A great piece of work!"
—Joe Beck, Jazz Guitarist
"Playing the Changes—Guitar: A Linear Approach to Improvising presents a great way to develop ear training, melodic and harmonic awareness, and the corresponding technique on the guitar. The clearly laid out and demystified program builds a sensitivity and understanding that will enrich any player's improvisational skills, transcending stylistic boundaries. A great contribution to a complete musician's education!"
—Howard Alden, Jazz Guitarist, Concord Recording Artist
Playing the Changes-Guitar
This book began as a series of core courses at Berklee College of Music, developed by
members of the Ear Training Department. In these classes, jazz improvisation students
learn to develop an intuitive, linear sense of improvisation. Some of these techniques have
evolved over centuries, and others have been developed fairly recently. As a method for
training musicians how to improvise, we have found this approach to be uniquely effective.
This book is intended for musicians who can read traditional notation and chord symbols,
have a basic understanding of functional harmony, and have a basic technical capability
on their instrument.
The essential idea is that using just a few notes effectively, in an improvisation, leads to
great musical freedom and depth of expression. By using a few carefully selected notes,
and by listening for where these notes naturally lead, your resulting improvised lines will
become more focused and linear, with natural-sounding resolutions.
In our method, note choices are based on modes and tetrachords (four-note groups,
discussed in lesson 2) that are derived from the chord progression's harmony. Our method
for using them will help you to find notes that will be musically effective, easy to
remember, and appropriate for your instrument, and it will lead you to many new ideas.
After introducing a few technical concepts in part I, the "Progressions" lessons of part II
are each based on a progression from the "jazz standards" repertoire. These patterns of
chords are at the heart of many tunes, and there are infinite ways in which they can be
varied. Individual chords can have variations, melodies can include notes that go beyond
the chords, and distinctive elements in the underlying groove can all lead to countless
possibilities. In addition, these progressions can be transposed to any key and played at
various tempos. Tunes can be created by combining several of these progressions, in
various formal structures. Mastering the ways that notes move over these progressions will
therefore help you as you learn new music.
Berklee has used this approach to train thousands of students to develop their musical
intuition. It has been refined over many years, and we have found it to be uniquely
effective and helpful.
We hope that it helps you to become more expressive and creative in your music making.
Notes about Chord Symbols
Chord symbols don't necessarily include tensions. Tensions may be included in the
notated and comping parts and solos.
About the Authors
The concepts in this book come from the curriculum developed by the creators of Berklee's Performance Ear Training courses. These concepts have been used to train thousands of musicians in improvisation.
Mitch Seidman
Guitarist Mitch Seidman is a Professor of Ear Training at Berklee College of Music. He has thirty
years of experience as a professional guitarist and music educator, and has performed throughout
New England, as well as in ew York, Los Angeles, and Washington, D.C. He has appeared
overseas at jazz festivals in France and Germany, and was an artist-in-residence for the Centro
Cultural Norteamericano in Costa Rica. Mitch has recorded with Harold Vick, Harvie S (formerly Harvie Swartz), Ted Brown, Alan Dawson, and Joe Hunt, and has performed with John Pisano, Teddy Kotick, Joe Beck, George Garzone, Herb Pomeroy, Hal Crook, Holly Hofmann, Vera Auer, Michael Formanek, Tyrone Brown, Eddie Jones, and Freddie Moore, among numerous others. He has recordings on Jardis (Germany), Cadence, and Brownstone Records.
Mitch holds a bachelor of composition from Berklee College of Music and a master's in music education from Boston University. He is a contributing editor to 20th Century Guitar magazine.
Paul Del Nero
Bassist Paul Del Nero is Associate Professor of Ear Training at Berklee College of Music. Paul is an
active performer, recording artist, educator, and clinician. He has performed internationally on
acoustic and electric bass, with small groups and big bands, in festivals, clubs, and shows, and on
radio and television. Artists he has performed with include Hal Crook, Charlie Rouse, James Williams, Hal Galper, Donald Byrd, Junior Mance, Mose Allison, Jimmy Guiffre, Butty Tate, Benny Golson, and Bob Moses. He has recorded with record labels including Concord, Candid, and GM. He has appeared at various jazz festivals, including Vienne, Toulon, Berlin, Los Angeles, and ew York, and was Artist in Residence at The Banff Centre. Paul is a recipient of the USIA Grant under the American Cultural Specialist Program. He holds a bachelor of music from Berklee and a master's from New England Conservatory of Music.
Playing the Changes-Guitar
CD Tracks
Mitch Seidman:
Paul Del Nero:
Tony Germain:
Bob Tamagni:
Guitars
Bass
Piano
Drums
Recorded at PBS Recording in Westwood, MA by Peter Kontrimas.
CMaj7 to C-7 .
CMaj7 to F-7 .
Tetrachord Demonstration .
CMaj7 Chord Pad .
CMaj7 Pad with Improvisation: C Major Tetrachord .
Practice Vamp 1: Play Along .
Practice Vamp 1: Lower Tetrachord .
Practice Vamp 1: Upper Tett'achord .
Practice Vamp 1: Modal Exercise .
Practice Vamp 1: Mixed-Rhythm Modal Exercise
Practice Vamp 2: Play Along .
Practice Vamp 2: Modal Exercise .
Practice Vamp 2: Mixed-Rhythm Modal Exercise .
Blue Bossa: Etude .
Blue Bossa: Play Along .
Blue Bossa: Mode Practice .
Blue Bossa: Mixed-Rhythm Modal Exercise .
Blue Bossa: Improvisation .
Tune Up: Etude .
Tune Up: Play Along " .
Tune Up: Mode Practice .
Tune Up: Mixed-Rhythm Modal Exercise .
Tune Up: Improvisation .
Valse Hot: Etude .
Valse Hot: Play Along .
Valse Hot: Mode Practice .
Valse Hot: Mixed-Rhythm Modal Exercise .
Valse Hot: Improvisation .
Blues: Etude
Blues: Play Along
Blues: Mode Practice
Blues: Mixed-Rhythm Modal Exercise
Blues: Improvisation
Long Ago and Far Away: Etude
Long Ago and Far Away: Play Along
Long Ago and Far Away: Mode Practice
Long Ago and Far Away: Mixed-Rhythm Modal Exercise
Long Ago and Far Away: Improvisation
Lady Bird: Etude
Lady Bird: Play Along .
Lady Bird: Mode Practice
Lady Bird: Mixed-Rhythm Modal Exercise
Lady Bird: Improvisation
Just Friends: Etude
Just Friends: Play Along .
Just Friends: Mode Practice
Just Friends: Mixed-Rhythm Modal Exercise .
Just Friends: Improvisation
Additional recordings for this book are available on its associated Website
Contents
CD Tracks
Introduction .
PART I. Getting Oriented
Lesson 1. Pitch Axis .
Lesson 2. Tetrachords
Lesson 3. Modes .
Lesson 4. Practice Vamp 1: One Mode .
Lesson 5. Practice Vamp 2: Two Modes
PART II. Progressions .
Lesson 6. Two Modes .
Lesson 7. Three Modes .
Lesson 8. Three Modes .
Lesson 9. Three Modes .
Lesson 10. Four Modes
Lesson 11. Four Modes
Lesson 12. Five Modes
What's Next? .
About the Authors .
Italiano
English
