MODERN JAZZ GUITAR STYLES André Bush CD TABLATURE SOLOING Chord Voicings-Modal-Rhythmic Sequencing

MODERN JAZZ GUITAR STYLES, A. Bush. CD TABLATURE

Product Description:
A unique book and CD package including extensive chapters on soloing, chords, rhythm and effects. With in-depth exercises on modern scale applications and intervallic choices, developing individual chord voicings, incorporating rock and funk concepts, exploring elements from world music such as odd meters and polyrhythms, and ideas for developing your own sonic textures and approach to tonal manipulation. Each section features an essay illustrating the musical history and specific innovations of modern jazz guitar masters, with insightful commentary accompanying each concept and example. The last section thoroughly analyzes studio performances of two original compositions incorporating all the above materials. Modern Jazz Guitar Styles provides the serious student or professional seeking to broaden his palette with a comprehensive overview of the current state of jazz guitar.

Extensive chapters on soloing, chords, rhythm and effects

In-depth exercises on modern scale applications and intervallic choices

Ideas for developing your own sonic textures and approach to tonal manipulation

Covers developing individual chord voicings, incorporating rock and funk concepts and exploring elements from world music

Provides serious student/professional a comprehensive overview of current state of jazz guitar

Companion CD included

 

Product Number: 99917BCD
Format: Book/CD Set
ISBN: 0786658657
UPC: 796279073325
ISBN13: 9780786658657
Series: Non-Series
Publisher: Mel Bay Publications, Inc.
Date Published: 1/31/2005
104 PAGES

modern jazz guitar styles chapter one introduction &
A jazz steps into the 21st century, creative guitarists have an unprecedented array of musical options at their fingertips. Fundamental study materials are more available in more forms than ever, and contemporary jazz has become infused with the influences of pop, rock, techno, hip-hop, rap, world music, etc. We guitarists may freely draw from not only the musical gestures of these styles, but also the techniques, tones and production values. In so doing, the new breed of jazz guitarist is well within the greatest traditions of jazz, which has always used whatever means necessary to express itself. Consider Dizzy Gillespie's championing of Afro-Cuban music, Illinois Jacquet's growling, distorted tone or Miles Davis' radical transformation of Tin Pan Alley and show tunes. As soon as technology permitted, jazz musicians recorded extended improvisations and compositions, and the advent of the electric guitar itself allowed guitarists to utilize be-bop phraseology.
The seminal work of modem jazz guitar pioneers such as John McLaughlin, Larry Coryell, Pat Metheny, John Scofield, Bill Frisell, Ralph Towner and many others now enters the jazz continuum and stands equally alongside the work of Charlie Christian, Wes Montgomery, Jim Hall etc. While these great artists deliberately set about combining rock and jazz styles, a new generation of jazz guitarists accepts these techniques as matter of fact. The sounds of Jimi Hendrix and Charlie Parker sit side by side in the new jazz guitar vocabulary.
In this book we will explore modem soloing techniques, chord playing, rhythmic theory and its practical application. Throughout, we will examine major guitarist/composers of recent years and how various styles from outside the jazz tradition have informed their work. There will also be a chapter on signal processing devices and their role in jazz guitar. Woven into all chapters and their various subjects will be commentary on specific artistis and albums where you can find great examples of the particular technique or effect. Also, I will begin every chapter with a short essay, which will try to give some historical context to the materials and times.
I will include a detailed analysis of two original compositions from my CD Invisible City (Quicksil ver Records/Odd Culture Productions) in which we will take an in-depth look at the compositional material, guitar techniques and effects, with an eye on all the material presented here. 1'11 conclude with a list of suggested listening and reading, where I will recommend CDs by many of the artists we've looked at, and related reading and viewing material.
While this volume contains some material that may be helpful and of interest to the beginning or intermediate player, I have geared most of the material and subject matter to the serious student of jazz guitar. While this list is by no means definitive, I would consider a basic grasp of the following material to be prerequisite to the subject matter in this book.

1. Major, melodic and harmonic minor scales, their modes and chords, as well as the diminished, whole-tone and pentatonic scales.

2. Basic fretboard harmony, including standard voicings for all major, minor, dominant and
diminished 7th chords, with extensions.

3. Basic principals of chord substitutions (i.e. tritone substitution, backcycling, triad over bass,
reharmonizing, etc.)

4. Knowledge of a good number of jazz standards (melody, chord changes and improvisational
analysis), preferably memorized.

5. Familiarity with the history of jazz guitar and the ability to identify major figures from all eras by ear. ...
 

modern jazz guitar styles chapter one introduction &
A jazz steps into the 21st century, creative guitarists have an unprecedented array of musical options at their fingertips. Fundamental study materials are more available in more forms than ever, and contemporary jazz has become infused with the influences of pop, rock, techno, hip-hop, rap, world music, etc. We guitarists may freely draw from not only the musical gestures of these styles, but also the techniques, tones and production values. In so doing, the new breed of jazz guitarist is well within the greatest traditions of jazz, which has always used whatever means necessary to express itself. Consider Dizzy Gillespie's championing of Afro-Cuban music, Illinois Jacquet's growling, distorted tone or Miles Davis' radical transformation of Tin Pan Alley and show tunes. As soon as technology permitted, jazz musicians recorded extended improvisations and compositions, and the advent of the electric guitar itself allowed guitarists to utilize be-bop phraseology.
The seminal work of modem jazz guitar pioneers such as John McLaughlin, Larry Coryell, Pat Metheny, John Scofield, Bill Frisell, Ralph Towner and many others now enters the jazz continuum and stands equally alongside the work of Charlie Christian, Wes Montgomery, Jim Hall etc. While these great artists deliberately set about combining rock and jazz styles, a new generation of jazz guitarists accepts these techniques as matter of fact. The sounds of Jimi Hendrix and Charlie Parker sit side by side in the new jazz guitar vocabulary.
In this book we will explore modem soloing techniques, chord playing, rhythmic theory and its practical application. Throughout, we will examine major guitarist/composers of recent years and how various styles from outside the jazz tradition have informed their work. There will also be a chapter on signal processing devices and their role in jazz guitar. Woven into all chapters and their various subjects will be commentary on specific artistis and albums where you can find great examples of the particular technique or effect. Also, I will begin every chapter with a short essay, which will try to give some historical context to the materials and times.
I will include a detailed analysis of two original compositions from my CD Invisible City (Quicksil ver Records/Odd Culture Productions) in which we will take an in-depth look at the compositional material, guitar techniques and effects, with an eye on all the material presented here. 1'11 conclude with a list of suggested listening and reading, where I will recommend CDs by many of the artists we've looked at, and related reading and viewing material.
While this volume contains some material that may be helpful and of interest to the beginning or intermediate player, I have geared most of the material and subject matter to the serious student of jazz guitar. While this list is by no means definitive, I would consider a basic grasp of the following material to be prerequisite to the subject matter in this book.

1. Major, melodic and harmonic minor scales, their modes and chords, as well as the diminished, whole-tone and pentatonic scales.

2. Basic fretboard harmony, including standard voicings for all major, minor, dominant and
diminished 7th chords, with extensions.

3. Basic principals of chord substitutions (i.e. tritone substitution, backcycling, triad over bass,
reharmonizing, etc.)

4. Knowledge of a good number of jazz standards (melody, chord changes and improvisational
analysis), preferably memorized.

5. Familiarity with the history of jazz guitar and the ability to identify major figures from all eras by ear.
 

modern jazz guitar styles andre bush biography
Guitarist and composer Andre Bush draws from a wide range of influences in his music. He combines the
lyrical and creative approach of modem jazz heroes such as Wayne Shorter, Keith Jarrett and Pat Metheny with the
high-energy grooves and complex sonic structures of innovative guitarists such as John McLaughlin, Sco
Henderson and Nguyen Le. In addition to a thorough grounding in the jazz tradition, his extensive experience in
the world of rock and pop give him a unique musical outlook. Andre's playing seamlessly reconciles the
disparate worlds and establishes his conception as a natural and logical extension of the jazz guitar tradition.
Andre's new album, Start From Silence, pairs Andre with master pianist Art Lande and an allstar ban
performing his complex yet accessible compositions. Challenging rhythms, beautiful harmony, poignant lyricism.
and brilliant improvisation combine to create a cohesive and unique album.
Start From Silence follows up Invisible City (Quicksilver/Increase,) an album that featured jazz icons Dave
Liebman and Steve Smith. Invisible City emerged as one of the most critically acclaimed releases of 2000, nam
"CD of the Year" by the Jazz Review, and was added to hundreds of jazz radio stations nationwide, appearing 0
both CMJ and Gavin jazz charts.
Andre has performed or recorded with Dave Liebman, Steve Smith, Paul McCandless, Art Lande, Kenn_
emer, James Genus, Charlie Haden, Tootie Heath, George Cables, Buster Williams, Carl Allen, Andy NarelL
Darol Anger, Matt Rollings, Liz Story, Will Ackerman, Paul Hanson, Jack Perla and many others. Andre h
maintained a longtime musical partnership with Jenna Mammina, serving as her guitarist musical director ~
several albums and tours. He has appeared at the Mt. Hood Jazz Festival, San Francisco Jazz Festival, Montere_
Jazz Festival, Vancouver International Jazz Festival, Windham Hill's Winter Solstice tour and in clubs and theate
around the country. As a session guitarist, Andre has appeared with various bands at the Lilith Fair, on VHI an
TV and Alice Radio nationwide, contributed to many recording projects, and toured with a wide variety _
international artists.
Andre is a naturally gifted teacher who clarifies and inspires enthusiasm for complex musical concepts. H
i in frequent demand in the US and Europe as a guitar clinician and jazz educator.
Currently, Andre is touring in support of Start From Silence and Modern Jazz Guitar Styles. He teache
The Jazzschool in Berkeley, CA and at his home studio, is a frequent faculty member at Stanford Jazz Worksh
and Jazzcamp West and is a regular contributor to Guitar Player Magazine.
For information on concerts, clinics, workshops or seminars please contact:
odd culture productions, San Francisco.

 


Contents:

1) Introduction.4
2) Scales / Single Note Soloing.
In this chapter we will explore modern approaches to single note soloing.
Modern intervallic choices, scalar approaches, picking techniques and
articulation such as sweeps and legato phrasing will be covered, as well
as a few practicing ideas.

3) Chords.28
Here we will cover some approaches to modern chord voicings. We'll
focus on breaking out of standard chord forms and developing voice
leading. Quartal harmony, cluster voicings and modern substitutions
will be covered.

4) Rhythm44
In this chapter we will explore ways in which various rhythmic languages
have been integrated into jazz in the past three decades. Odd meters,
brazilian rhythms, Indian theory as well as some metronome basics will
be explored.

5) Effects..71
In this chapter we will explore signal processing, tonal manipulation, detuning,
etc. in modern jazz guitar. We'll cover time-based effects (reverb, delays, etc)
tonal effects (distortion, chorusing), amp technology, and how they have been
integrated into several different guitarists musical languages.

6) Analysis of "Odd Culture, This" and "Past and Future Warriors"..76
In this chapter I'll give a detailed analysis of two songs from my album Invisible
City (Odd Culture Productions/Quicksilver Records). Many of the elements that
we've studied throughout the book are present here, such as odd meters, modern
chord voicings and jazz/rock guitar techniques, so this will be a good opportunity
to explore these elements from the ground up.

7) Listening / Reading / Viewing / Bibliography / Study Materials.85
I'll conclude the book with a list and comments on several artists, their CDs, books and videos, to further help your studies. You'll be familiar with some of
these players, but others may be new and definitely worth checking out. Also
included will be a list of additional study materials.

 


Tuning Note A 440 and Introduction
Intervallic Ideas Using Major Scale Modes on a ii-V-I
Intervallic Ideas Using Major Scale Modes on a Pedal Tone
Intervallic Ideas Using Dorian Mode on One Chord
Intervallic Ideas on a Progression Similar to "Giant Steps"
Bluesy Ideas Using Melodic Minor Modes on a Minor ii-V-i
Intervallic Ideas Using sus b9 Mode on One Chord
Intervallic and Bluesy Ideas on a Progression Similar to "Stella By Starlight"
Funky Ideas Using Half-Whole Diminished Scale
Ideas Using Half-Whole Diminished Scale on a ii-V-I
Ideas Using Half-Whole Diminished Scale on a ii-V-I
Pentatonic Scale for Maj7(~11)
Pentatonic Scale for Maj7(:11) on a ii-V-I
Pentatonic Scale for Maj7(:11) on a ii-V-I
Pentatonic Scale for Altered Dominant Chords on a Turnaround
Melodic Sequencing on a Minor ii-V-I
Melodic Sequencing on a Minor ii-V-I
Melodic Sequencing on One Chord
Melodic Sequencing on One Chord
Melodic Sequencing on a Progression Similar to Have You Met Miss Jones?"
Legato Phrasing Techniques on a Major Scale
Legato Phrasing Techniques on One Chord
Sweep Picking Demonstration
Sweep Picking on a Minor ii-V-I
Sweep Picking on Arpeggio Combinations
Right Hand Tapping Demonstration
Right Hand Tapping Demonstration, Extended Example
Right Hand Tapping for Voicing a Chord
Open and Stopped String Combinations for a Major Scale
Open and Stopped String Combinations in a Melody
Fourth-Based Voicings for Major Scale Harmony
Fourth-Based Voicings for Melodic Minor Scale Harmony
Modal Voicings from the Major Scale Using Adjacent Strings
Modal Voicings from the Major Scale Mixing Adjacent and Non-Adjacent Strings
Modal Voicings from the Melodic Minor Scale Using Adjacent Strings
Modal Voicings from the Melodic Minor Scale
Mixing Adjacent and Non-Adjacent Strings
Chord Voicings Mixing Stopped and Open Strings
Chord Voicings Mixing Stopped and Open Strings
Chord Voicings Mixing Stopped and Open Strings on a ii-V-I
Modal Voicings Mixing Stopped and Open Strings
Chord Etude on a Progression Similar to "'SoWhat" or "Impressions"
Chord Etude on a Progression Similar to "Stella By Starlight"
Chord Etude on a Progression Similar to "Blue Bossa"
Comping in the Style of John McLaughlin
Hammond B3-Style Comping
Single Note Comping
Rhythm Etude Using a Single Note
Rhythm Etude Incorporating Melody
Rhythm Etude in 3/4
Vamp in 5/4 on One Chord
Vamp In 5/4 with Harmonic Modulation
Etude In 7/8 with Basic Subdivisions
Etude in 7/8 Adding Melody
Etude in 7/8 Adding Melody with Various Rhythmic Figures and Chord Voicings
Etude in 7/4 on a Progression Similar to "All the Things You Are" 54-
Etude on an 11/8 Blues
Funk Etude in 7/4
Metric Modulation, 4/4 to 3/4
Metric Modulation, 4/4 to 7/8
Rhythmic Displacement
Rhythmic Displacement with more Complex
Melody and Variation
Rhythmic Displacement through a Chord Progression
Rhythmic Sequencing on One Chord
Rhythmic Sequencing on One Chord
Rhythmic Sequencing on a Turnaround
Counting Subdivisions in 15/8
Counting in 15/8, Emphasizing First Beat of Each Subdivision
15/8 Groove, Adding Melody
15/8 Groove with Melody, Adding Rests and Ties
15/8 Groove, Adding Chord Progression and Melody
Basic Montuno for Guitar
Montuno for Guitar with Modem Harmony
Basic Bossa Nova Rhythm Guitar Pattern
Bossa Nova in 5/4
2 Against 3 Polyrhythm
12/8, 6/8,3/4 Polyrhythm
2 and 4 Against 3 Polyrhythm on a Progression Similar to "Someday My Prince Will Come"
Demonstration of Implied Metric Modulation
Short Composition Incorporating Implied Metric Modulation
Odd Culture, this from "Invisible City" (Odd Culture Productions/Quicksilver Records)
Past and Future Warriors from Invisible City (Odd Culture
Productions/Quicksilver Records)

Andre Bush cover photo
Danie/ Gohstand - danie/photo.com
Guitar images (AES620 series) courtesy of Yamaha
Recorded by Peter Wolf at Wolfsound Productions
 

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