National Guitar Workshop Method - Approved Curriculum

THE COMPLETE JAZZ GUITAR METHOD. INTERMEDIATE JAZZ GUITAR. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA JAZZ CON CD AUDIO. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

This book is great for guitarists who have learned the basics of jazz harmony and improvisation. Topics include the ii-V-I progression, creating solo lines, altered chord formulas, and comping in different jazz feels such as Latin, swing, ballad, and even funk. Continuing in the format of Beginning Jazz Guitar, every new concept is accompanied by etudes and songs for practice, and every chapter is clearly divided into lessons on harmony and improvisation. Packed with literally hundreds of chord voicings and improv ideas, this book is a must for any serious student of jazz guitar. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 96 pages.

Complete Jazz Guitar Method: Intermediate Jazz Guitar
By Jody Fisher
Item: 00-14123
UPC: 038081128290
ISBN 10: 0739021559
ISBN 13: 9780739021552

Category: Guitar Method or Supplement
Format: Book & CD
Instrument: Guitar
This book is great for guitarists who have learned the basics of jazz harmony and improvisation. Topics include the ii-V-I progression, creating solo lines, altered chord formulas, and comping in different jazz feels such as Latin, swing, ballad, and even funk. Continuing in the format of Beginning Jazz Guitar, every new concept is accompanied by etudes and songs for practice, and every chapter is clearly divided into lessons on harmony and improvisation. Packed with literally hundreds of chord voicings and improv ideas, this book is a must for any serious student of jazz guitar. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 96 pages.

INTERMEDIATE JAZZ GUITAR

The National Guitar Workshop's Jazz Guitar Method
FINALLY FOUR COMPREHENSIVE INSTRUCTION BOOKS DEDICATED TO REVEALING THE SECRETS OF JAZZ GUITAR FROM ONE OF AMERICA'S LEADING GUITAR SCHOOLS!
All four books are loaded with:
• Examples in standard music notation and TABLATURE
• Full-length songs to practice
• Easy-to-read chord and scale diagrams
Teachers and students alike will love the clearly organized lesson format By Jody Fisher, best-selling author

A CD DEMONSTRATING EXAMPLES IS AVAILABLE FOR EACH BOOK

38081 12829 0
ISBN 0-7390-2155-9
14123 Book and CD

Alfred PublishingCo., Inc.

BEGINNING JAZZ GUITAR
Anyone with a knowledge of basic chords and guitar scale fingerings can dig right in and start
learning to play jazz right away. Spanning from the major scale and basic triad theory all the way
up to extended chords and the modes, this book features a full-length etude or song to go with
every new concept introduced in the book. Beginning jazz Guitar breaks the age-old tradition of
dry, intimidating and confusing jazz books, and provides an actual step-by-step and enjoyable
method for learning to play in this style. Clearly organized into easily mastered segments, each
chapter is divided into separate lessons on harmony or improvisation.

INTERMEDIATE JAZZ GUITAR
This book is great for guitarists who have learned the basics of jazz harmony and improvisation.
Topics include the ii-V-I progression, creating solo lines, altered chord formulas and "com ping" in
different jazz feels such as Latin, swing, ballad and even funk. Continuing the format of Beginning
jazz Guitar, every new concept is accompanied by etudes and songs for practice, and every
chapter is clearly divided into harmony and improvisation lessons. Packed with literally
hundreds of chord voicings and improv ideas, this book is a must for any serious student of
jazz guitar.

MASTERING JAZZ GUITAR CHORD/MELODY
Learn to play the harmony, melody, rhythm and bass parts of any song simultaneously! Your
guitar will become the ultimate jazz solo instrument when you master the techniques and
concepts in this book. This book picks up where the harmony lessons in Intermediate jazz Guitar
leave off. Topics include integrating melody and harmony, developing bass lines, chord
enhancement, quartal harmonies and arranging a guitar solo. Concepts are illustrated with
lots of examples to practice, including arrangements of some traditional melodies.

MASTERING JAZZ GUITAR IMPROVISATION
Expand the boundaries of your knowledge and improvisation skills with this exciting book,
which picks up where the improv lessons in Intermediate jazz Guitar leave off. Topics include
improvising over altered dominant chords, the diminished scale, the whole-tone scale, targeting
the altered chords, revamping licks, modes of the minor scales and more! Loaded with
easy-to-read scale diagrams and example phrases, this book is packed with essential information
for the improvising jazz guitarist.
 

INTRODUCTlON
Welcome to the second book of a four book series about to playing jazz guitar. The format of this book is the same as Beginning jazz Guitar: each chapter is divided into lessons and each lesson is comprised of two sections. The "A" section of every lesson deals with chord work and harmonic concepts, while the"B" section contains information about single-line improvisation. The CODA section at the end of the book discusses technique and a variety of other areas of interest to jazz guitar students.
To get the most out of this book you should already be familiar with major and minor pentatonic scales, triads and chords with extensions (such as 9ths, I Iths and 13ths), transposition, basic diatonic harmony, the modes of the major scale and melodic patterns. You don't need to be an expert in all of these areas, but a firm grasp of the concepts will certainly help you get through this volume more easily.
This series, Beginning jazz Guitar, Intermediate jazz Guitar, Mastering jazz Guitar: Chord/Melody and Mastering jazz Guitar: Improvisation, covers an enormous amount of material. Be sure to supplement this information with lessons, practice, and other instructional books and video tapes. Also, playing with others is very important for your development.
While the four books in this series progress from elementary ideas to very complex concepts, the more advanced player would benefit by checking out all of them. Even the Beginning book contains some very challenging material. The series is designed so that it can be used as a reference-sort of a catalogue of concepts for jazz guitarists-or as a well organized method to be used with an instructor or on one's own.
I wish you lots of joy as you absorb this information. I hope this book will help you find the self-expression you are looking for through music and the guitar.

A compact disc is available for each book in this series. These discs can make learning with these books easier and more enjoyable. This symbol will appear next to every example that is played on the CD. Use the CD to help insure that you are capturing the feel of the examples, interpreting the rhythms correctly, and so on. The Track numbers and Index numbers below the symbols correspond directly to the example you want to hear. Track I will help you tune to the CD.

 TABLE Of CONTENTS

About the Author
Introduction
The "A" Lessons
Chords and Harmony

Chapter I
Lesson IA: The ii-V7-I Progression
Lesson 2A/2B:Diatonic Arpeggios

The "B" Lessons
Improvisation
Lesson IB: Improvising Over
  Diatonic ii-V7 -IProgressions .
Lesson 2A12B: Diatonic Arpeggios .

Chapter 2

Lesson IA: Altered Chords
  Dominant 7th b5 Chords :
  The Closer You Are
Lesson 2A: More Altered Chords
  Dominant 7th #5 Chords
  Funny
Lesson 3A: Altered Chords, Continued
  Dominant 7b9 Chords
  Friendly
Lesson 4A: More Altered Chords
  Dominant 7#9 Chords
  By the Light ofthe Moon
Lesson 5A: Chords with Combined Alterations
Lesson 6A: More Chords with Combined Alterations
Lesson 7A: Other Important Chords and ii-V7-I Fingerings
  Slash Chords
  ii-V7 -I Fingerings

Lesson IB: Practicing Arpeggios .
Lesson 2B: Progressions for Practicing Arpeggios .
Lesson 3B: Creating Lines #1 .
  Spelling Out the Changes .
  Swing Feel .
Lesson 4B: Creating Lines #2 .
  Neighbor Tones Approaching the Root .
Lesson 5B: Creating Lines #3 .
  Neighbor Tones Approaching the 3rd .
Lesson 6B: Creating Lines #4 .
  Neighbor Tones Approaching the 5th .
Lesson 7B: Creating Lines #5 .
  Neighbor Tones Approaching the 7th .

Chapter 3
Lesson IA: Comping Swing Feels
Lesson 2A: Com ping Latin Feels
Lesson 3A: Com ping Funk Feels
Lesson 4A: Comping Ballads
Lesson IB: Major 7th Extensions .
Lesson 2B: Diminished Extensions .
Lesson 3B: Ascending Lines from Chord Tones .
Lesson 4B: Descending Lines from Chord Tones .

Table of Contents

The "A" Lessons
Chords and Harmony

Chapter 4
Lesson IA: Chord Connections
Lesson 2A: Chord Connections #2
  String Set 6-5-4-3
  String Set 5-4-3-2
  String Set 4-3-2-1
Lesson 3A: Chord Connections #3
  Moving Across the String Sets
Lesson 4A: Chord Connections #4
  String Set 6-5-4-3
  String Set 5-4-3-2
  String Set 4-3-2-1

The "B" Lessons
Improvisation

Lesson I B: Learning Licks # I .
  Major Chord Licks .
Lesson 2B: Learning Licks #2 .
  Minor Licks .
Lesson 3B: Learning Licks #3 .
  Dominant Licks .
Lesson 4B: Learning Licks #4 .
  minor 7b5 Licks

Chapter 5
Lesson IA: The Blues Progression
Lesson I B: Soloing Over Blues Progressions .
  C Minor Pentatonic Fingerings .
  C Blues Scale Fingerings .
  C Mixolydian Fingerings .
  Sample Blues Solos .
  Blues Solo #I .
  Blues Solo #2 .
  Blues Solo #3 .

Chapter 6
Lesson IA: Rhythm Changes
  Rhythm
Lesson I B: Soloing Over Rhythm Changes .
  Rhythm Solo.

Chapter 7
Lesson I A: Turnarounds
Lesson I B: Soloing Over Turnarounds.

Chapter 8
Lesson IA: Chord Solo
  Foggy 88
Lesson I B: Single-Note Solo .
  Single Notes in the Mist .

Coda-A Medley of Suggestions and Musical Concepts
  Playing With Good Tone .
  More About Practi cing .
  The Value of Practicing Along a Single String .
  Singing Along With Improvised Lines .
  Listen ing to the Greats .
 

JAZZ LICKS ENCYCLOPEDIA. 280 frasi. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE . 

LIBRO DI MUSICA JAZZ CON CD .

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .

By Jody Fisher
ITEM: 00-19420
UPC: 038081184524
ISBN 10: 0739011189
ISBN 13: 9780739011188
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Nearly 300 useful jazz guitar licks organized by chord type. Examples are shown in easy-to-read TAB and standard music notation. Four voicings are given for each chord type along with easy-to-read chord diagrams. Licks for common progressions such as ii-V-I are shown. Includes sections on Important Scales for Improvisation, Articulation, "Feel" and other important topics.

GUITAR
OVER 280 USEFUL JAZZ GUITAR LlCKS

- Organized by chord type
- Four voicings given for each chord type with easy-to-read chord diagrams
- Examples in TAB and standard music notation
- Includes sections on important scales for improvisation, articulation, "feel" and other important topics
- Licks for common progressions such as ii-V-I
JODY FISHER
 

CONTENTS:

ABOUT THE AUTHOR
INTRODUCTION
PART I: LICKS FOR CHORDS

MAJOR 6 CHORDS (MAJOR 13 CHORDS)
Chord Formula & Voicings
One-Bar Licks for 6 Chords
Two-Bar Licks for 6 Chords

MAJOR 7 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj7 Chords
Two-Bar Licks for Maj7 Chords

MAJOR 9 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj9 Chords
Two-Bar Licks for Maj9 Chords

MINOR 6 CHORDS (MINOR 13 CHORDS)
Chord Formula & Voicings
One-Bar Licks for min6 Chords
Two-Bar Licks for min6 Chords

MINOR 7 CHORDS
Chord Formula & Voicings
One-Bar Licks for min7 Chords
Two-Bar Licks for min 7 Chords

MINOR 9 CHORDS
Chord Formula & Voicings
One-Bar Licks for min9 Chords
Two-Bar Licks for min9 Chords

MINOR I I CHORDS
Chord Formula & Voicings
One-Bar Licks for Min I I Chords
Two-Bar Licks for Min I I Chords

DOMINANT 7 CHORDS
Chord Formula & Voicings
One-Bar Licks for 7 Chords
Two-Bar Licks for 7 Chords

DOMINANT 9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 9 Chords .
Two-Bar Licks for 9 Chords .

DOMINANT II CHORDS .
Chord Formula & Voicings .
One-Bar Licks for I I Chords .
Two-Bar Licks for I I Chords .

DOMINANT 13 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for I 3 Chords .
Two-Bar Licks for I 3 Chords .

DOMINANT 7b5 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7b5 Chords .
Two-Bar Licks for 7b5 Chords .

DOMINANT 7#5 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7#5 Chords .
Two-Bar Licks for 7#5 Chords .

DOMINANT 7b9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7b9 Chords .
Two-Bar Licks for 7b9 Chords .

DOMINANT 7#9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7#9 Chords .
Two-Bar Licks for 7#9 Chords .

DOMINANT 7b5b9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7b5b9 Chords .
Two-Bar Licks for 7b5b9 Chords .

DOMINANT 7#5#9 CHORDS .
Chord Formula & Voicings .
One-Bar Licks for 7#5#9Chords .
Two-Bar Licks for 7#5#9Chords .

DOMINANT 7b5#9 CHORDS
Chord Formula & Voicings
One-Bar Licks for 7b5#9 Chords
Two-Bar Licks for 7b5#9 Chords

DOMINANT 7#5b9 CHORDS
Chord Formula & Voicings
One-Bar Licks for 7#5b9 Chords
Two-Bar Licks for 7#5b9 Chords

MAJOR 7#5 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj7#5 Chords
Two-Bar Licks for Maj7#5 Chords

MAJOR 7#11 CHORDS
Chord Formula & Voicings
One-Bar Licks for Maj7#11 Chords
Two-Bar Licks for Maj7#11 Chords

DOMINANT 9#11 CHORDS
Chord Formula & Voicings
One-Bar Licks for 9#11 Chords
Two-Bar Licks for 9#11 Chords

PART 2: LICKS FOR PROGRESSIONS

ii-V7 -I
Example Progressions i
Two-Bar Licks for ii-V7-I i
Four-Bar Licks for ii-V7-I.. i

MINOR ii- V7-i
Example Progressions j
Two-Bar Licks for ii-V7 -i
Four-Bar Licks for ii-V7 -i

ii- V7-1- VI7
Example Progressions
Two-Bar Licks for ii-V7 -I -VI7
Four-Bar Licks for ii-V7 -1-VI7

iii- VI7-11- V7 S
Example Progressions
Two-Bar Licks for iii-VI7 -ii-V7
Four-Bar Licks for iii-VI7 -ii-V7

III7- VI7-117- V7
Example Progressions
Two-Bar Licks for III7- VI7-II7-V7
Four-Bar Licks for III7-VI7-II7-V7

CHROMATIC PROGRESSIONS
Example Progressions
Two-Bar Licks for Chromatic Progressions
Four-Bar Licks for Chromatic Progressions

APPENDIX
Articulation and "Feeling"
Revamping Licks
Rhythmic Displacement
Important Scales for Improvisation

The CD that accompanies this book can make learning with the book
easier and more enjoyable. The symbol shown above will appear next to
every example that is on the CD. Use the CD to help insure that you are
capturing the feel of the examples, interpreting the rhythms correctly, and
so on. The track numbers below the symbols correspond directly to the
examples on that page. Track I will help you tune your guitar to this CD.

Introduction
There are many factors that go into a good jazz solo. Understanding music theory, along with the
ability to execute numerous scales, patterns and arpeggios, is just part of the picture. You must also
develop a sense of melody. Jazz students go about this by spending quite a bit of time studying the
improvised solos of others-specifically, "lifting" nice melodic ideas for use in their own solos, or at
least to influence their own playing in some way. These short melodic ideas become their "licks." This is perfectly acceptable.
In the long run, everything you have studied and listened to blends together to become your "sound:'
Problems arise when a player uses licks as the only tool for creating solos. Stringing an assortment of licks together is not improvising. Improvising is expressing the moment with spontaneously created ideas (as much as possible). Most of these ideas are based on things you have already learned, studied and heard.
Ideally,when improvising, we are combining these things in new and exciting ways. So, it makes sense to expose yourself to a lot of nice melodies. Learning a variety of tunes will help and so will learning licks-the ones you transcribe from recordings and the ones you get from books like this one.
This book has two main sections. The first part deals with licks that will work over specific chords.
Most types of chords are represented. For each type of chord, you will be shown the chord formula (as derived from a scale) and four sample voicings. In this section, there are four one-measure licks and six two-measure licks that will work well over the chord. When you find a melodic idea you like, memorize
it and learn to play it in all keys. Then practice inserting the idea into your own solos. Always look
for ways to vary the lick and make it your own.
The second section deals with licks that work over entire chord progressions. Many of the most common progressions are shown with longer melodic ideas. You will find two- and four-measure licks. Once again, when you find one you like, memorize it, transpose it and then start using it (or pieces of it, anyway).
At the end there is a short Appendix. In this section, you'll find ideas to help you get more mileage out of the licks you have learned. There is also a list of scales from which most of the licks in this book were mined. Eventually, you should know these scales in a few different fingerings.
The idea is to develop a strong musical vocabulary. Think of a scale as an "alphabet." Licks are some of the "words" you can create using that alphabet. Learning licks can help you to understand the scales you are studying by showing you some of the musical sentence possibilities.
I hope the examples in this book will open a few melodic doors for you!

NOTE:
All of the eighth notes in this book are swing Bths (played unevenly, long-short). However, it's always a good idea to try playing musical ideas straight, too. Experiment. On the CD that is available for this book, they are played as swing 8ths. 

PUMPING NYLON, INTERMEDIATE TO ADVANCED REPERTOIRE. SHEET MUSIC BOOK WITH CD. METHOD FOR GUITAR.  

LIBRO METODO DI MUSICA CLASSICA CON CD.

SPARTITI PER CHITARRA CON PENTAGRAMMA. 

Supplemental Repertoire for the Best-Selling Classical Guitarist's Technique Handbook

“PRACTICE DOES NOT MAKE PERFECT.

PERFECT PRACTICE MAKES PERRFECT”

Welcome to the second installment of the repertoire supplements to Pumping Nylon. As the subtitle indicates, these pieces are more advanced than the repertoire in the previous installment. They are primarily concert pieces instead of the shorter, more pedagogical etudes presented in the wy to EarLy Intermediate book. Therefore, the pieces tend to be longer and much more substantial. Consider this book to be a brief representation of the types of pieces that contain specific technique-building elements (such as concentrated scales, left-hand slurs, arpeggios, tremolo and the like). When practiced correctly and with the proper intent, they will aid in developing your guitar-playing skills. In our continuing quest to serve you something new and tasty to consume, we have made an effort to put some newer pieces on your plate. We hope to not only help you enjoy significant progress, but to also open your eyes and ears to new, delightful concert pieces to perform for the enjoyment of others. A "checklist" of specific issues upon which to focus-such as technical and/or musical challenges, fingering and practicing tips-precedes each piece. If taken to heart, these pieces should be of great benefit to you. As always, it is a good idea to check your progress with a teacher when problems arise, as there is no ideal substitute for expert advice. As in Pumping Nylon, I encourage you to take the ideas presented in each piece and expand on them yourself. Find other pieces that will further help you overcome any obstacles. You have what it takes to play anything, and with some mindful practice, you will!

"Love overcomes fear. Fear cannot exist in the presence of love" Pepe Romero

About the Author

Scott Tennant's reputation as a performer and teacher is known worldwide. His accolades include becoming the first American ever to win the first prize in the Tokyo International Guitar Competition in 1989, and silver-medal performances in both the 1988 Concours International de Guitare of Radio France in Paris and the 1984 Toronto International Competition. He is recording the complete solo guitar works of Joaquin Rodrigo for GHA records, including the concertos with Leo Brouwer conducting the Cordoba Symphony Orchestra. His debut solo release for Delos, "Wild Mountain Thyme," is a recording of Celtic music for the classical guitar. Born in Detroit in 1962, Scott began playing the guitar at six years of age. During his junior high and high school years, he studied classical guitar with Lee Dyament and Joe Fava. Also while growing up in Detroit, he began taking flamenco lessons with Juan Serrano. When Maestro Serrano moved to California, Scott replaced him as the accompanist for the Maria del Carmen Dance Company. He also played the bass trombone in his high school concert band and the violin in the school orchestra. Scott moved to Los Angeles in 1980 to attend the University of Southern California, where he studied with Pepe Romero and James Smith. It was during this time that the Los Angeles Guitar Quartet was formed (then the U.S.C. Guitar Quartet), and he has been touring and recording with the group ever since. As a student there, he performed in the master classes of such luminaries as Joaquin Rodrigo and Andres Segovia. He now teaches as a member of the faculty at U.S.C. The Quartet can be heard on their recordings for GHA, Delos and Sony Classical.

There is a compact disc available for this book. It includes performances of all the pieces by Scott Tennant except Rasgueado Exercise in Solea and Alzapua and Thumb Study in Solea, which are performed by Adam del Monte. Use it to help insure that you are interpreting the rhythms correctly and capturing the style of each work. The symbol above will appear to the left of each piece. The track numbers below the symbols correspond to the piece you want to hear. Enjoy!

Preface

About the author

Glossary of Signs and terms

The Frog Galliard - John Dowland

Fantasia n.18 - Luis Milan - 1536

Fantasia n.16 - Luis Milan - 1536

Veintidos diferencias de Conde Claros - Luis de Narvaez

Variations sur les "Folies d'Espagne" Op. 45 - Mauro Giuliani

  Tema

  Variation I

  Variation II

  Variation III

  Variation IV

  Variation V

  Variation VI

Etude n.11 - Napoléon Coste

Fantasia Original, Capricho a imitation del Piano, tecnica del Tremolo - Jose Vinas

Rasgueado Exercise in Solea - Adam del Monte

Alzapua and Thumb Study in Solea - Adam del Monte

Ispired by Villa Lobos etude n.1 - Joe Diorio

Study n.1 - Carlos Rafael Rivera

Plainte - Brian Head

Concerto de Aranjuez, Cadenza from Adagio  2nd movement - Joaquin Rodrigo - 1939

BLUES LEAD GUITAR SOLOS. CD TAB.

By Wayne Riker. For Guitar. Guitar Method or Supplement. Blues. Book & CD. 96 pages. This book teaches how to organize all your great ideas into power-packed leads by providing a complete analysis of 16 full-length solos. Each one is discussed in detail, covering everything from the particular blues form to the structure and techniques used. Styles include Chicago blues, Delta blues, rock blues, slow blues, "Stormy Monday" style and the minor blues. All 16 solos are performed on the accompanying CD.

GUITAR ATLAS AFRICA. Chi nel 2003 ha ascoltato il chitarrista classico John Williams in concerto, sarà ancora incuriosito dalle allegre melodie del continente africano. CD TABLATURE

LIBRO PER CHITARRA CON CD E TABLATURE

By Banning Eyre
SERIES: National Guitar Workshop
CATEGORY: Guitar Method or Supplement
FORMAT: Book & CD

Banning Eyre, a nationally recognized expert in African guitar music, guides you through a variety of important styles, including congolese, mbira, Malian blues and juju. Explore the history and origin of each style including the pioneering musicians that developed them, and learn the dominant characteristics and techniques necessary to play this remarkable music. All material and examples are presented in standard notation and TAB for both lead and rhythm parts. A CD demonstrating all examples and compositions in the book makes learning easy and trouble-free for all players.

Expand your musical horizons with guitar styles from the African continent.
Banning Eyre, a nationally recognized expert
in African guitar music, guides you through the elements that
are at the heart of the African guitar sound. Explore a variety
of important styles, from the intertwining guitar boogie of the
Congo and the serene, percussive weave of Nigerian juju
music, to the flashy fingerpicking of Mali and Madagascar.
The CD demonstrates ali the examples and compositions
featured in the book.
The author's travels and experiences with guitarists throughout
Africa lend this book unmistakable authenticity, and the
popularity of Afropop makes Guitor Atlos: Africo a must for
every player. This thorough yet concise introduction makes it
fun and easy to explore the fascinating styles of a continent
rich in musical traditions.
Guitar Atlas: Africa

Guitar Styles From Around the Globe
20450

African guitar is a big subject, as big as the continent itself. Africa is 54 countries and
many hundreds of distinct ethnic groups, and while most people think of African music
as principally drumming and singing, there is an astounding number of guitar styles
unique to particular African settings. Paul Simon's breakthrough 1986 album
"Graceland" focused international attention on South African pop music and initiated
a process of discovery for cutious music fans around the world. What they found was
the dazzling array of music styles we now call Afropop. From the tangled guitar boogie
of the Congo-soukous music-to the serene percussive weave ofNigerianjuju music,
to the flashy fingerpickers of Mali and Madagascar, Africa's treasure chest of beautiful
and originaI contemporary guitar idioms seems inexhaustible.
Many of these idioms deserve a book of their own. Some are extensions of ancient
musical traditions that used indigenous instruments for centuries before the first
guitars carne to Africa with Portuguese sailors in the 16th century. These "roots"
genres sometimes have rich, widely inrerpreted repertoires and diverse, demanding
techniques specifically developed to render the sounds of African instruments on
guitar. Even brazenly modern guitar styles, like those in the Congo, have achieved
a remarkable level of depth and rigor within a few short decades of developmenr.
For all the travel and study l've put in, l've only scratched the surface of Africa's
guitar wealth. But l've learned enough to convey a number of important principI es
of some key African guitar styles.
That is the limited objective of Guitar Atlas: Africa. The African guitar styles introduced
here are by no means the only ones worthy of study. They are simply the ones I have been
fortunate enough to discover, and the ones l've become intrigued enough to tackle as a
player. This book would not have been possible without the openness and generosity of
the many guitarists who have shared their wisdom with me. Using the principles and
fundamentals in this book as a starting point, players will be able to approach recordings
of African music with greater appreciation and understanding. Still, mere is no substitute
for sitting down with those who grew up playing these styles, especially ifyou can do so in
Africa. My fondest hope for this book is that it will inspire other players to dig dee per into
this underexamined world of guitar music. I hope others will make their own journeys,
write their own books and articles, and bring as yet undiscovered African guitar geniuses
to international attention.
Guitar Atlas: Africa assumes that you have some experience playing and reading standard
music notation and/or TAB, and that you have some experience with both
fingerstyle and flatpick playing. It also assumes that you have some understanding of
basic music theory-time signatures, rhythms and note values (ranging from whole
notes to sixteenth notes), intervals, harmony (chords and chord symbols), and so on.

Banning Eyre has played guitar professionally since me mid1970s,
working in genres as diverse as jazz, flamenco, dancerock,
and reggae. Since 1990, he has specialized in guitar
styles from Mrica, making six trips to the continent to research
guitar music. Over the years, Banning has played in a
series of Congolese soukous bands in Boston, in the West Mrican
folk ensemble Cora Connection, and with a variety of
musicians performing Zimbabwean mbira music. He teaches
Mrican guitar styles, both privately and in workshops at Tribal
Soundz in New York City.
During travels in Mrica, Banning has performed with the Super Rail Band of Bamako
and Sali Sidibe in Mali, and with Thomas Mapfumo and the Blacks Unlimited in
Zimbabwe. He plays on two Thomas Mapfumo albums, "Chimurenga '98" and
"Chimurenga Explosion," and on a track from Taj Mahal and Toumani Diabate's
"Kulanjan" (Hannibal, 1999), voted the Folk Roots Album of the Year in the UK.
Banning has written about international music, especially Mrican guitar styles, since
1988. He comments and reporrs on music for National Public Radio's All Things
Considered and contributes regularly to the Boston Phoenix, Guitar Player, Rhythm,
Folk Roots, The Beat, CM] New Musie Monthly, and the Musie Hound and All Musie
Guide series of books. He has traveled extensively in Mrica and produces regular
programs for the public radio series Afropop Worldwide.
In 1995, Banning co authored AFROPOPf.- An Illustrated Guide to Contemporary Afriean
Musie with Sean Barlow. His critically acclaimed book In Griot Time: An Ameriean
Guitarist in Mali (Tempie University Press, 2000) recounts his seven-month apprenticeship
with DjelimadyTounkara of the Super Rail Band of Bamako, Mali. He compiled a
companion CD, In Griot Time: String Musie from Mali (Stern's Mrica, 2000), including a
number of his own recordings of musicians in Mali. Banning is currently at work on a
book abour Thomas Mapfumo and the contemporary history of Zimbabwe.
Banning is the senior editor.

Amponsah
Balafon
Chimurenga
Clave
Diaoura
Dosongoni
Griot
Guirare etouffée
Hosho
Kaira
Kamelengoni
Karigamombe
Karagnan
Keme Burema
Kwaito
Kwassa-kvvassa
Marabi
Marche militaire
am-POHN-sah
BAH-lah-fohn
CHI-mur-EHNG-ah
CLAH-vay
jah-OO-rah
DOH-soh-NGOH-nee
GREE-oh
gih-TAHR AY-too-fay
HOH-shoh
KIE-rah
KAH-meh-leh-N GO H -nee
KAH-tee-gah-MOHM-bay
KAH-ran-YAH(n)
KAY-mayBRAH-mah
KWIE-toh
KWAH-sah KWAH-sah
mah-RAH-bee
MARZH mee-lee-TEHR
Marovany
Matonge
Mbaqanga
Mbira dza vadzimu=
Mi-solo
Ngoni
Pidigori
Seben
Son monruno
Songhai
Soukous
Sungura
Sunjata
Taireva
Ukapika
Valiha
Wassoulou
Yoruba
MAH-roh-VAHN
MAH-tohn-gay
mbah- KAHN -gah
MBEE-rah DZAH-vah-DZEE-
MEE-soh-loh
NGOH-nee
PIH -dee-goh-ree
SEH-ben
SOHN mahn-TOO -oh
SOHN-gie
SOO-koos
soon-GOO-rah
soon-JAH-tah
tie-RAY-vah
OO-kah- PEE-kah
vah-LEE
WAH-soo-loo
yoh-ROO-bah

ABOUT THE AUTHOR
PRONUNCIATION GUIDE
INTRODUCTION

CHAPTER l-Palm Wine Piekers
Two-Finger Pieking
Palm Wine Basies
Parallel 6ths
Making It Swing

CHAPTER 2-Highlife and Juju
Rhythm Guitar
Juju IO
Juju Slow 1 O

CHAPTER 3-Congolese, Rumba, and Soukous
The Clave Rhythm
Congolese Rhythm Guitar
Matonge
Congolese Lead Guitar
Soukous Bass
Congolese Seben 1
Congolese Seben 2.

CHAPTER 4-Music of the Manding Griots
Kora Style
Balafon Style
goni Style
Keme Burema
Diaoura
Lydian Mode
Manding Swing
Manding Groove

CHAPTER 5-Malian Blues .
Major Pentatonie .
Songhai Piece .
Minor Pentatonie .
Minor Pentatonic Duet .
Dorian Pentatonie .
Dorian Desert Blues .
Wassoulou Musie .
Two-Guitar Wassoulou Piece .

CHAPTER 6-South African Piekers
and Strummers .
Zulu Fingerstyle Guitar .
Walking Song .
Zulu Song .
Mbaqanga .
Mbaqanga Song .

CHAPTER 7-Zimbabwe Rumba .
Sungura Stomp .

CHAPTER 8-Zimbabwe Mbira .
Mbira Fingerstyle .
Karigamombe Fingerstyle .
Flatpiek Mbira Guitar .
Pidigori .
Lead Mbira Guitar .
Pidigori Extended Lead .
Taireva .
1àireva (version 1) .
1àireva (version 2) .

CHAPTER 9-Miracles of Madagasear .
Sammy's Vamp .
Variation on Sammy's Vamp .
Malagasy Song .

Track
A compact disc is included with this book. This disc can make learning
with the book easier and more enjoyable. The symbol shown at the left
appears next to every example that is on me CD. Use me CD to help
ensure that you're capturing me feel of me examples, interpreting me rhythms
correccly, and so ono The track number below the symbol corresponds directly
to me exampleyou want to hear. Track l will help you runeyourguitar to this CD.
Have fun!