COMPLETE FINGERSTYLE JAZZ GUITAR BOOK. ALAN DE MAUSE. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .
LIBRO METODO DI MUSICA JAZZ, CON CD .
SPARTITI PER CHITARRA :
ACCORDI, PENTAGRAMMA, TABLATURE.
METODO
Product Description:
This book is complete in the sense that there is something for everyone: beginners, intermediate players and professionals. Along with learning the basics, this book teaches fingerstyle guitar players to play two-string harmonies, accompaniment styles and much more. Alan De Mause has filled the companion CD to capacity with 90 examples of music from his landmark text. The recording features nylon-string guitar throughout in both solo and midi-accompanied settings. A full range of jazz guitar stylings is offered, starting from square one and proceeding through advanced fingerstyle solo material. 184 PAGES
Format: Book/CD Set
Series: Complete
About the author
Alan de Mause performs, teaches, and manages his Guitar Power!correspondence course in NewYark City. He has twelve jazz guitar music books to his credit, and is a contributor to a variety of magazines like Just Jazz Guitar and Fingersty/e Guitar Magazine. He studied with Jim Hall, Jimmy Raney, Johnny Smith, Sal Salvador, Albert-Valdes Blain, Barry Galbraith, and William Matthews, among others. When he is not doing musicianly things he works in the computer graphics and design world.
From the author
Thanks to:
Those I studied or studied with Students at the Guitar Study Center and Teachers College, Columbia University
Dewey Dellay, audio engineer, musician, friend Christine Sotmary and Pam Parker far their help with the manuscript
Peekamoose, New York City, for keeping my guitars up and running Sandy Santana, electronic wiz who configures the un-configurable and stuffs it into a guitar Richard Cocco of O. Mari/La Bella Co. for keeping me strung up instead of out Robert Benedetto, Miguel Luciano and Jose Mercado, luthiers
INTRODUCTION
Being your own band
The Complete Fingerstyle Guitar Book is divided into three Sections. It is complete in the sense
that there is something for everyone: beginners, intermediate players, and professionals. The sections are related, but not strictly sequential. Both standard notation and guitar tablature are used throughout. If you are not yet a fingerstyle player, welcome to the club. This is the place to learn. Not only will you have a whole new realm of musical possibilities, you will have the experience of plucking the strings directly instead of through the intermediary of a pick. With fingerstyle guitar it is possible to accompany oneself by playing melody, chords and bass simultaneously.
SECTION ONE
Beginning fingerstyle guitar
If you are just beginning to play, Part 1 of Section One is for you. You don't have to know anything about guitar other than the side of the guitar with strings on it should not be resting against your chest. Having a teacher who plays fingerstyle helps too. In this section you will learn how to hold the guitar, use the proper hand and finger positions, and play both open strings and fretted notes. Learning material is set in the context of blues and jazz. By the end of the this section you will have played several blues tunes using your fingers to self-accompany.
SECTION TWO
Creating fingerstyle jazz guitar solos
If you have been playing fingerstyle but had erratic results with trying to arrange solos for yourself, start with this section. The underlying techniques of arranging are presented in workbook-like exercises. After laying basic groundwork you will play completely self-arranged self-accompanied solos. Topics include preparing a fingerstyle jazz solo, working from chord symbols, using a variety of bass accompanying devices, writing notation, using, major and minor thirds, accompanying with arpeggios, harmonizing a melody with thirds, tenths, and sixths. All material in this section is placed below the sixth fret.
SECTION THREE
Professional fingerstyle jazz guitar
Earl Klugh, Ralph Towner, Howard Alden, Tuck Andress, Luiz Bonfa, Ron Eschete, John and Bucky Pizzarelli, Charlie Byrd, George Van Eps, Fred Fried, Ted Greene, Howard Morgen, Joe Pass, Bill Harris, Lenny Breau and many others all.play(ed) wonderful fingerstyle jazz guitar. If you want to join their ranks, this is where you, an advanced player can learn. Topics cover jazz harmonic background, self accompanying, accompanying others, expressive devices of jazz, the cycle of fifths, introductions, endings, turnarounds, tags, modulations, and several full length pieces in the final Section, Fun Jazz
Contents:
SECTION ONE: Getting Started with Fingerstyle Jazz Guitar
INTRODUCTION
Being your own band
About the author
Acknowledgments
SECTION ONE/PART 1: Guitars, hand positions, fingerstyle strokes
Your guitar
Centering the guitar
Naming fingers
Right arm and hand position
Melody playing with the rest stroke
When hammering your nails
Let two fingers do the walking
On the other hand, the left--
Restrain the wayward thumb
May I presume--?
Open strings: E, B, and G
Three notes on open strings
Music, meter, and measures
Three beats per measure
Time signatures: 3/4
Time signatures: 4/4
Four beats per measure
Picking pairs of alternating fingers: m-a
Quarter notes, half notes, and whole notes
Matching right hand fingers with strings
Rematch
Open choice on open strings
Thumbing along freely
E, A, and D
Digging deep
Fingers and thumb
Uppers and lowers
Reader's choice
SECTION ONE/ Part 2: Learning the blues: fretted notes, rests
The old open six
The new fretted two
Left-hand technique
B, E, and some friends
The oldies and the newies
Make a blues sound
Blues background
Go form a blues
A and D complete the blues scale
Picking up notes
E blues scale
Time for a rest
Go and Stop
Stopping an open string from ringing
Damping
Thumb work
Strings 'n things
Accuracy in notation
Something simple
Too simple?
Music in two parts
Rests in two part music
Ties that bind
Not so hard
Try it, you'll like it
Twofers
One more note
Lower ledger lines workout with G
Complete two octave blues scale
Try it two ways
Let it rip blues trip
Sun rhythmics
House of the Rising Sun
SECTION ONE/ Part 3: Rhythming around
Can we talk?
Swimming in rhythm
Find a rhythmic reference
Basic and specific rhythms
Review of whole note, half note, quarter note, and rest equivalents
Take a rest (notes and rests)
Ties that bind
Dots incredible
Equivalent tied and dotted notes
Rhythm in 3/4 time
Two part rhythm
Blues with the whole thing
SECTION ONE/ Part 4: The flow of jazz: Eighth notes
Simple eighths
Counting eighths
Eighth notes and others
Talking to yourself
Mixes bag of note values
Take a rest
Simple ties that bind
Swinging the blues
Doo-ba Doo-ba blues
Eighth notes with mixed rests
Ties in disguise?
Same guise with ties: Eighth-Quarter-Eighth and Tie
Same guys with rests: Half rest-Quarter rest-Eighth rest
The readability factor
Dots and ties incredible
Ties with dotted note equivalents
Dotted quarter notes with eighth notes and eighth note rests
Dot's all in 3/4, folks
Pause to catch your wind and finish up
Rhythmic review
Bop Stop
SECTION ONE/ Part 5: All together, now
Playing to or more strings simultaneously
Two strings and parts, one rhythm, same bass notes
As above, with a variety of bass notes
More note movement
pattern playing
Rhythmic independence in both parts
Independence in 3/4
Blues with a beat
Whompin' the blues
Back to the future
Half note bass
Quarter note bass
Quarter note bass in 3/4 time
Half note plus quarter note in 3/4 time
Refurbishing Twofers
Deja vu: Part 4 review
Slower melody, faster bass
Shuffling Home
It's a wrap!
Further study
SECTION TWO: Creating Fingerstyle Jazz Guitar Solos
SECTION TWO/Part 1: Preparing to create a fingerstyle jazz solo
May I presume--?
Special Note: No TAB or audio here
Selecting a tune
Both melody and chord symbols are on the original sheet music
Lead sheet fragment
It can be played easily as is
It is basically in one key
It is in a good guitar key
It is in a range convenient for adding harmony below the melody
Trial run for tunes
Tune 1
Tune 2
Raising the melody one octave higher
Changing keys by counting steps
TALE OF KEYS (arranged by half step intervals)
You could trace them down
Accidentals
Chord symbols
Tune 2 transposed to D
How high is high enough?
Setting up the tune for arranging
Conventions of notation for fingerstyle guitar
Tune 2 in G, stems up
It's a singer's world
Tune 3 with original piano lead sheet and vocal part
Tune 3 with stems up, eighth notes beamed
SECTION TWO/Part 2: Accompanying yourself
What's next
Adding to this band of one
Rooting for the root
When to change the bass note
Rhythm changes
Two more
Twofers
Bass notes in 3/4 time
Threefers
Making the bass more independent
Rhythm Changes with quarter notes in the bass
Making repetition less repetitious
Variation on four quarter notes
Rhythm Changes with syncopated bass
Alternating octaves
Alternating Octave Blues
When to use which bass rhythm
Getting it down on paper
SECTION TWO/Part 3: Oom-pah power
Root/fifth
Great Scott!
Finding the root/fifth of a scale
Root/fifth of the C major chord
Oom-pah Rhythm Changes
Putting some oomph into the oom-pah
Lowering the oom-pah
The not-so-perfect fifth
Let's all root for the fifth
View of Blues
Your turn
SECTION TWO/Part 4: Marking major and minor
Distinguished notes
Locating thirds using scales
Using the C major scale to locate major thirds
finding minor thirds
Using the C melodic minor scale to locate minor thirds
Absolute measuring: the chromatic scale
The chromatic scale spelled in sharps
The chromatic scale spelled in flats
Juggling thirds
Exercise A
Exercise B
Building chords by stacking thirds
Two plus two
Using major and minor thirds in arranging
Mandatory thirds
Rhythm Changes with thirds
An OK Place to Be
Sequences
Answers to Exercises A and B
SECTION TWO/ Part 5: Accompanying with arpeggios
The Natural
Rhythm Changes with arpeggios
Right-hand fingering
Left-hand fingering
Alternate arpeggiation style
Arpeggio samples
Reality enters
Rhythm Changes with reality
Your turn
SECTION TWO/ Part 6: Harmonizing a melody with a third below
Quick and EZ thirds
Making the top note ring out
Rhythm Changes in thirds
Interval makeup of chord symbols
Perfect matches-- or not
Adjusting the fit
Bringing back the bass
Rhythm Changes in thirds plus bass
Third this blues
Third this blues (completed)
TABLE OF THIRDS
SECTION TWO/ Part 7: Harmonizing with tenths
Tenths: the dropped third
Rhythm Changes with parallel tenths in the bass
Rhythm Changes with mixed intervals
Improvisation on Rhythm Changes
Trippingly, with tenths
Walking tenths
Accompaniment using walking tenths
TABLE OF TENTHS
There's tenthing tonight on the old camp ground
SECTION TWO/ Part 8: Harmonizing with sixths
Another natural
Rhythm Changes déjà vu
Multipurpose sixths
Parallel Me, Baby
Crackers and Muscles
Show Me the Way to Go Sixths
TABLE OF SIXTHS
Crackers and Muscles (completed)
Congratulations!
More is less
Training in A
SECTION THREE: Professional Fingerstyle Jazz Guitar
SECTION THREE/Part 1: Harmonic background
Complete fingerstyle jazz guitar
May I presume--?
Something to play upon
Jazz harmony
Chord qualities
Standard chord voicings
Root position, thirds an octave higher
Root position, thirds and fifths an octave higher
HARMONIC MOVEMENT
Harmonic movement based on scale steps
Diatonic walking tenths
Diatonic walking sixths
Harmonic movement based on the cycle of fifths
Root movement using the cycle
Focusing on fifths
Chromatic harmonic movement
Mixers
Ascending by half step
SECTION THREE/Part 2: Self accompanying
One is company
SINGLE NOTE ACCOMPANIMENT OF MELODY
Root movement
Double bass notes, root movement
Mixes bass rhythms
Repeated figure bass
Root/fifth alternation (simple)
Other alternating bass notes
Non-root movement
Walking bass (diatonic)
Walking bass (chromatic)
Anticipation
Delaying
Folk jazz
More
TWO NOTE ACCOMPANIMENT OF THE MELODY
An abundance of riches
Stomp romp
Alternating bass on hormones
When melody and bass overlap
Oom-pah meets arps
Melody accompanied by tenths in the bass
Autumn Sneeze
Piano movements
Closer voicing
Leading with a two-note comp
Sneezing and comping
More non-root movement
Music in three parts
SECTION THREE/Part 3: Capable accompanist accoutrements
Fingerstyle accompanying
Those other playmates in your sandbox
Accompanying singers
Crush
Guitar and bass comping behind a soloist
Some Day My Prints Will Arrive
Guitar duets
Imagine Nation
Accompanying with one note at a time
My Gummy Valentine
Walking-bass-plus-chord
Bird Adobe Song
Guitar and flute duet
Body and Sole
Guitar and --
SECTION THREE/Part 4: Expressive devices of jazz
Making jazz jazzy
The underlying rhythmic pulse: Quarter note
The feeling of swing
Accented notes on off-beats
Oo-bah oo-bah
Ghosting notes by plucking lightly
Ghosting notes by using slurs
Slides and fall-offs
Bends
Rhythmic displacement
The whole thing
In a Yellow Phone
SECTION THREE/Part 5: Pedaling the cycle of fifths
Why the cycle of fifths is important
Notation conventions
Root movement
V7-I with opposing movement
V7-V7 with mixed movement
V7-I tritone pull
Chords, pieces, and lines
The spread
More tenths
Bassman--the bass, man!
Challenge
Harmony today
Less relentless
Cycled out
SECTION THREE/Part 6: Intros, endings, turnarounds, tags & modulations
Yipes!
An introduction by any other name
The ins and outs of I-V7, V7-I, and IV-I
INTRODUCTIONS
A moving experience
Classic drama
Vamp
II-V7 within one measure
II-V7 over two measures
Purposeful ambiguity
Peaceful, easy feeling
2-in-1 EZ cheap trick
ENDINGS
Cycling to the end
Minor matter
Turnarounds (turnbacks)
Turnaround with modulation
TAGS (Codas)
Tag me if you can
Tag, you're it
MODULATION
Nothing special
Instant modulation: V7-I
Taking time
Back cycling
Smoother moves: II-V7-I
Descending chromatically
Approaching by half step
Mozart's fakeroo
SECTION THREE/Part 7: Fun Jazz
Are we having fun yet?
Blew Moo
Good Evening, Friends
Ain't Miss Bee Haven
Stringing the World Along
Roots in A
Bird Abode Song
3 on 4
Walkdown
Further study
Italiano
English
