CHITARRA LAMPO

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5218 BLUES & ROCK HARMONICA, G. WEISER. CD

Euro 21,00

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BLUES & ROCK HARMONICA, G. Weiser. CD

Series: Harmonica
Publisher: Centerstream Publications
Medium: Softcover with CD
Artist: Glenn Weiser

By Glenn Weiser Book/CD package for beginners to learn blues and rock improvisation. Includes explanations of scales, modes, chords & other essential elements of music. The 60-minute CD features riffs & solos plus demonstrations and a blues jam to play along with. Goin' Down The Road. 96 pages.

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6363 BLUES/ROCK, Harmonica Play-Along Volume 3. CD

Euro 14,99

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BLUES/ROCK, Harmonica Play-Along Volume 3. CD

Series: Harmonica Play-Along
Medium: Softcover with CD
Artist: Various

The Harmonica Play-Along Series will help you play your favorite songs quickly and easily. Just follow the notation, listen to the CD to hear how the harmonica should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and MAC computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch! Volume 3 includes:

Big Ten Inch Record
On The Road Again
Roadhouse Blues
Rollin' And Tumblin'
Train Kept A-Rollin'
Train, Train
Waitin' For The Bus
You Shook Me

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5213 THE ROOTS OF JAZZ. CD

Euro 16,00

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THE ROOTS OF JAZZ. CD TAB.

Dinah
East Of The Sun (And West Of The Moon)
Honeysuckle Rose
I'll Remember April
Rose Room
Yesterdays

Series: Guitar Collection
Softcover with CD - TAB
Composer: Fred Sokolow

A complete survey of jazz guitar, its pioneers and how it developed. Includes: six note-for-note transcriptions of famous standards pivotal to the genre; instruction in the essential playing styles; the history and development of jazz guitar; biographies of the pioneering artists; a recording of the songs, exercises, and licks; and more. Songs include: Dinah (Eddie Lang) - East of the Sun (And West of the Moon) (Barney Kessel) - Honeysuckle Rose (Charlie Christian) - I'll Remember April (George Van Eps) - Rose Room (Django Reinhardt) - Yesterdays (Wes Montgomery). 64 pages.

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5237 WYBLE'S JIMMY, SOLO COLLECTION. CD

Euro 19,00

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WYBLE'S JIMMY, SOLO COLLECTION. CD TAB.

Product Description:
This collection presents the genius of Jimmy Wyble's solo guitar compositions. Presented in standard notation and tab, each written piece with an accompanying CD track represents the guitar mastery of Jimmy Wyble. Lyrically written, eloquently harmonized and thoughtfully played, these pieces are sure to add depth and originality to any solo guitarist’s repertoire.
Format: Book/CD Set

Song Title: Composer/Source:
Cantilena Michael Amorosi; Edited and Fingering by Jimmy Wyble
Changes (Make Someone Happy) Jimmy Wyble
Elegy ( Homage to Bill Evans) Michael Amorosi; Edited and Fingering by Jimmy Wyble
Etude Eight (A Morning Prayer) Jimmy Wyble
Etude Eleven (Blues for Bix) Jimmy Wyble
Etude Fifteen Jimmy Wyble
Etude Fourteen Jimmy Wyble
Etude Sixteen Jimmy Wyble
Mundy's Mood Jimmy Wyble
Nocturne Michael Amorosi; Edited and Fingering by Jimmy Wyble
Noodlin' - Part I Jimmy Wyble
Noodlin' - Part II Jimmy Wyble
Scherzo Michael Amorosi; Edited and Fingering by Jimmy Wyble
Slightly Blue Jimmy Wyble
Three Thoughts Jimmy Wyble
Variations On A Theme (All of Me) Jimmy Wyble
Waltz Michael Amorosi; Edited and Fingering by Jimmy Wyble

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5245 JAZZ GUITAR STANDARDS: CHORD MELODY SOLOS. 2CD TAB.

Euro 25,00

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JAZZ GUITAR STANDARDS: CHORD MELODY SOLOS. 2CD TAB.

Product Description:
This collection of jazz standard chord solos for guitar is compiled from Mel Bay and Warner Bros. collaborations Jazz Guitar Standards Vol. 1 and 2. What makes this work so special is that each artist has personally recorded their solo guitar arrangement. The book comes with the CDs which have all 44 tunes. This book is a wonderful anthology of solo guitar that can be used for performances as well as educational purposes.

Song Title: Composer/Source:
A Foggy Day
All of You
All the Things You Are
Alone Together
April in Paris
Arranger Index
As Time Goes By
Beautiful Love
Bluesette
Body and Soul
But Not for Me
Bye Bye Blackbird
Can't Help Lovin' Dat Man
Days of Wine and Roses
East of the Sun (and West of the Moon)
Embraceable You
Have You Met Mis Jones?
Honeysuckle Rose
How High the Moon
I Can't Get Started
I Could Write a Book
I Love You
I've Got You Under My Skin
In Your Own Sweet Way
Invitation
It Don't Mean a Thing
Just Friends
Long Ago (and Far Away)
Lover Man (Oh, Where Can You Be?)
Misty
Moonlight in Vermont
My Funny Valentine
Night and Day
Satin Doll
Smoke Gets in Your Eyes
Someone to Watch Over Me
Speak Low
Summertime
The Way You Look Tonight
Watch What Happens
What Is This Thing Called Love?
What's New?
Yesterday
You Go to My Head
You Stepped Out of a Dream

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5248 HOT CLUB SESSION BASIC ACOUSTIC SWING JAZZ GUITAR. FELIX Schell. CD TABLATURE

Euro 18,99

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HOT CLUB SESSION BASIC ACOUSTIC SWING JAZZ GUITAR. F. Schell. 7 Pezzi completi, e 5 basi complete, arpeggios, scales, symetrical scales, melodic embellishments. CD TABLATURE

Product Description:
Finally, a great method which will show you how to play the acoustic jazz guitar in the style of players like Django Reinhardt, Oscar Alleman and Eddie Lang - their style is characterized by a powerful rhythm guitar and a vital swinging single-note solo line. Due to the fact that it can be very hard to master the original transcriptions, this book simplifies this style without losing the essence of the original sound. Written in standard notation and TAB, the material can be played by students and players that master the easy to intermediate level on plectrum style jazz guitar. All titles are included on CD, as well as some play along tracks which offer a great possibility to improvise on typical gypsy chord changes and rhythms.

Format: Book/CD Set

HOT CLUB SESSION FELIX

Preface
The Hot Swing Guitar Style has a special stamping. On one hand, it is powerful and vigorous, on the other hand it is humorous and poetic.
The guitar players in those days did not have pick-up systems or the comfort of amplified electric guitars with thin strings and low action. Thus brilliance and sound intensity had to be physically produced. So technological development is partly to blame that so few musicians today know how to play in the original style. Nevertheless the popularity for this music has lasted.
The most important pioneers of the Acoustic Jazz Guitar were Eddie Lang, Django Reinhardt and Oscar Alleman. The tradition went on with "Sinti and Roma" and was formally known as "Gypsy Jazz Guitar" (Hans'sche Weiss Quintet, Schnuckenack Reinhardt Quintet, Birelli Lagrene.)
The title of this book "Hot Club Session" refers to a Jazz Club in Paris named "Hot Club de France". There, the Hot Club Quintet often performed. The Quintet was founded in the thirties by Stephan Grappelli and Django Reinhardt, the guitar player and one of the most important European jazz musicians in history. The fabulous music of this ensemble has been documented on many recordings.
Hot Club Jazz is a European style of jazz music dominated by string instruments. The typical Quintet consists of three guitars, a violin and upright bass. Trumpet, drums or saxophone, associated with traditional American Jazz, are rare.
This edition is designed for guitar players who want to familiarize themselves with the basics of the Acoustic Swing Jazz Style. Good luck, have fun and enjoy, Felix Schell

About the Author
Felix Schell was born on June 25, 1951, in Mainz, Germany. He has played guitar since the age of 13. For many years he played rock n' roll, blues, and jazz in different bands. After studying music at the Jazzschool MOnchen, he taught jazz guitar there for three years.
Felix also played with the Musical Hair Ensemble in the '70s. Today, Felix Schell is the author of several instruction books, as well as the owner of a publication and distribution service in Hamburg, Germany.

Song Title: Composer/Source:

Arpeggios
Blues of the Gypsys Felix Schell
Chromatic Line Felix Schell
Dark Eyes Felix Schell
Improvisation
Le Reve Felix Schell
Major & Minor Scales
Melodic Embellishments
Minor Stomp (1) Felix Schell
Minor Stomp (2) Felix Schell
One Note Rhythm (1) Felix Schell
One Note Rhythm (2) Felix Schell
One Note Rhythm (3) Felix Schell
Special Effects
Symmetrical Scales
Waltz for Django Felix Schell

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5212 CHORDS FOR JAZZ GUITAR, The Complete Guide to Comping, Chord Melody and Chord Soloing. CD TAB.

Euro 21,00

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CHORDS FOR JAZZ GUITAR, The Complete Guide to Comping, Chord Melody and Chord Soloing. CD TAB.

The Complete Guide to Comping, Chord Melody and Chord Soloing
Series: Guitar Educational
Medium: Softcover with CD
Author: Charlton Johnson

This book/CD pack will teach you how to play jazz chords all over the fretboard in a variety of styles and progressions. It covers: voicings, progressions, jazz chord theory, comping, chord melody, chord soloing, voice leading and many more topics. The CD includes 98 full-band demo tracks. No tablature. 149 pages.

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5225 JURIS VIC, INSIDE/OUTSIDE. ORIGINAL PLAY-ALONG MODERN JAZZ GUITAR SOLOS. CD

Euro 21,00

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JURIS VIC, INSIDE/OUTSIDE. ORIGINAL PLAY-ALONG MODERN JAZZ GUITAR SOLOS. CD TAB.

Product Description:
Vic played the solos in this collection with the student in mind. Each piece is based on the changes of popular jazz standards and will serve as great etudes for learning advanced jazz soloing techniques. Students will be able to see how to build a solo, use tension and release (“outside” and “inside” playing), build an advanced jazz vocabulary, and develop a motive through a set of changes though careful study of these solos. Each etude has two play-along tracks found on the companion CD. One track is with Vic playing the solos found in the book and the other track is with rhythm section only.

Song Title: Composer/Source:
About the Author
All the Strings U.R.
Blue Joltice
Corey's Blues
First Voyage
Karate & Soul
Little Steps
Pink Elephant Street
Rhythm's The Thing
So Sensitive
So What Else
Someday My Frog Will Come
Soul Art
Steller
Tall Blues
You Don't know

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5233 MODERN JAZZ GUITAR STYLES, André Bush. CD TABLATURE

Euro 24,49

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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

Andrè Bush

acknoledgements
This book is primarily an expression of gratitude to the following amazing people whom I've been fortunate enough to hang, play, record, tour, or study with, and watch and learn from; each of you helped me grow in confidence as a musician, and shaped my outlook on life profoundly. Your ongoing dedication to this art form, and unique approach to life continue to be a touchstone for me, and I am forever in your debt. George Collichio, Mike Dana, Tom Hynes, Joe Diorio, Dave Creamer, Larry Koonse, Peter Sprague, Art Lande, Mark Levine, Steve Smith, David Liebman, Jack Perla, Michael Zilber, Charlie Haden, Mike Stern, John Scofield, Jenna Mammina, Paul Hanson, Cookie Marenco, Paul Nagel, John Hettel, Adam Levy, James Genus, Matt Rollings, John Mader, Derek Jones, John Stowell, David Friesen, Glenn Chronkite, Paul McCandless, Denny Zietlin, Steve Cardenas, John Shifflett, Scott Amendola, Alan Hall, Scott Morris, Tootie Heath, James Newton, Otmaro Ruiz, Aaron Serfaty.
Thank you to my interviewees! One of the ways in which I am most fortunate in terms of writing a book like this is that I have a good number of world class musician friends who were kind enough to let me "pick their brains" on various subjects-Mike Zilber, Alan Hall, Steve Khan, Steve Smith, Tom Hynes, Marc Van Vagenhegen, Jack Perla, George Brooks, Michael Belfer.
Thank you! Mel Bay Publications (Corey Christiansen, Mr. William Bay, Stephen Rekas), Dawna Mickaels Bush (layout, fonts, patience) Guitar Player Magazine (Adam Levy, Andy Ellis, Jude Gold), X-Dot 25, Quicksilver/lncrease Records (Howard Silvers, David Greenman), Klein Electric Guitars (Lorenzo German), My dedicated web-mistress Elinor Van Ommen, Guitar Solo (Bob Brumbaloe), Mt. Hood Jazz Festival (Bill Royston),
San Francisco Jazz Festival (Randall Kline), The JazzSchool (Susan Muscarella and Lisa), The Stanford Jazz Workshop (Jim Nadel) Jazz Camp West (Madeline Eastman, Stacey Hoffman) Mamma Grace Records, Steve and Ruth Shewan for the best clinic ever! Mitch Mammina for continuous patience with my "personality" on the road.
To my private students, with whom I've refined this material ad infinitum.
My amazing, beautiful wife Dawna, Loofy, Mom and Scott, Mark and Andrea, Forest and Skyler, The Mickaels, The Shewans, Mike and Helene Charlasch (I'll never forget the benefit...) The Mamminas, Wendy and John Mader, Mike and Carla Zilber, Victor and Cathy, Ariana and the Wolf, Nick and Diana, Penn Jillett, Heather Porter, Bill Girolamo, Larry Kohut, El John, Eli and Maile.
I dedicate this book to Sophia Scott Bush, with unconditional love, and with the hope that your life is filled with the joy of endless learning, growth, discovery and creativity. In the quest for your own unique voice know that, given enough time, a lot of discipline, and a little magic, your spiritual capacity is boundless, and potential for achievement limitless.

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, Scott 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 these 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 band 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, named "CD of the Year" by the Jazz Review, and was added to hundreds of jazz radio stations nationwide, appearing on both CMJ and Gavin jazz charts.
Andre has performed or recorded with Dave Liebman, Steve Smith, Paul McCandless, Art Lande, Kenn Werner, 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 has maintained a longtime musical partnership with Jenna Mammina, serving as her guitarist musical director for 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 theaters around the country. As a session guitarist, Andre has appeared with various bands at the Lilith Fair, on VHI and MTV and Alice Radio nationwide, contributed to many recording projects, and toured with a wide variety of international artists.
Andre is a naturally gifted teacher who clarifies and inspires enthusiasm for complex musical concepts. He is 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 teaches at The Jazzschool in Berkeley, CA and at his home studio, is a frequent faculty member at Stanford Jazz Workshop 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

table of contents

Author's Acknowledgements I Thanks

1 Introduction

2 Scales I 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
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 Rhythm
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
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" 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 I Reading I Viewing I Bibliography I Study Materials 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.

modern jazz guitar styles
chapter one introduction
As jazz steps into the 21st century, creative guitarists have an unprecedented array of musical options at 6, 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 modern 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 modern 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 artists and albums where you can find great examples of the particular technique or effect. Also, I will begin every chapter ith a hort 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 (Quicksilver & cds/Odd Culture Productions) in which we will take an in-depth look at the compositional material, guitar hniques and effects, with an eye on all the material presented here. 1'11 conclude with a list of suggested ning and reading, where I will recommend CDs by many of the artists we've looked at, and related reading and ring material.
While this volume contains some material that may be helpful and of interest to the beginning or intermediate pia 'er I ha e 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.

M E L B A Y
P R E sE N T S
by Andre Bush

CD Tracks
Tracks Page Tracks
1. Tuning Note A 440 and Introduction
2. Intervallic Ideas Using Major Scale Modes on a ii-V-I
3. Intervallic Ideas Using Major Scale Modes on a Pedal Tone
4. Intervallic Ideas Using Dorian Mode on One Chord
5. Intervallic Ideas on a Progression Similar to "Giant Steps"
6. Bluesy Ideas Using Melodic Minor Modes on a Minor ii-V-i
7. Intervallic Ideas Using sus b9 Mode on One Chord
8. Intervallic and Bluesy Ideas on a Progression Similar to "Stella By Starlight"
9. Funky Ideas Using Hall-Whole Diminished Scale
10. Ideas Using Hall-Whole Diminished Scale on a ii-V-I
11. Ideas Using Half-Whole Diminished Scale on a ii-V-I
12. Pentatonic Scale for Maj7(#11)
13. Pentatonic Scale for Maj7(#11) on a ii-V-I
14. Pentatonic Scale for Maj7(#11) on a ii-V-I
15. Pentatonic Scale for Altered Dominant Chords Figures and Chord Voicings on a Turnaround
17. Melodic Sequencing on a Minor ii-V-I 19
18. Melodic Sequencing on a Minor ii-V-I 19
19. Melodic Sequencing on One Chord 20
20. Melodic Sequencing on One Chord
21. Melodic Sequencing on a Progression Similar to "Have You Met Miss Jones?"
22. Legato Phrasing Techniques on a Major Scale
23. Legato Phrasing Techniques on One Chord
24. Sweep Picking Demonstration
25. Sweep Picking on a Minor ii-V-I
26. Sweep Picking on Arpeggio Combinations
27. Right Hand Tapping Demonstration
28. Right Hand Tapping Demonstration, Extended Example
29. Right Hand Tapping for Voicing a Chord
30. Open and Stopped String Combinations for a Major Scale
31. Open and Stopped String Combinations in a Melody
32. Fourth-Based Voicings for Major Scale Harmony
33. Fourth-Based Voicings for Melodic Minor Scale Harmony
34. Modal Voicings from the Major Scale Using Adjacent Strings
37 Mixing Adjacent and Non-Adjacent Strings
38 Chord Voicings Mixing Stopped and Open Strings
Adjacent and Non-Adjacent Strings 31 75. Bossa Nova in 5/4
39. Chord Voicings Mixing Stopped and Open Strings
40. Chord Voicings Mixing Stopped and Open Strings on a ii-V-I
41. Modal Voicings Mixing Stopped and Open Strings
(Odd Culture Productions/Quicksilver Records)
42. Chord Etude on a Progression Similar to "So What" or "Impressions"
43 Chord Etude on a Progression Similar to "Stella By Starlight"
44 Chord Etude on a Progression Similar to "Blue Bossa"
45 Comping in the Style of John McLaughlin
46 Hammond B3-Style Camping
47 Single Note Camping
48 Rhythm Etude Using a Single Note
49. Rhythm Etude Incorporating Melody
50. Rhythm Etude in 3/4
51. Vamp in 5/4 on One Chord
52. Vamp In 5/4 with Harmonic Modulation
53. Etude In 7/8 with Basic Subdivisions
54. Etude in 7/8 Adding Melody
55. Etude in 7/8 Adding Melody with Various Rhythmic
56. Etude in 7/4 on a Progression Similar to"All the Things You Are"
57. Etude on an 11/8 Blues
58. Funk Etude in 7/4
59. Metric Modulation, 4/4 to 3/4
60. Metric Modulation, 4/4 to 7/8
61. Rhythmic Displacement
62. Rhythmic Displacement with more Complex Melody and Variation
63. Rhythmic Displacement through a Chord Progression
64. Rhythmic Sequencing on One Chord
65. Rhythmic Sequencing on One Chord
66. Rhythmic Sequencing on a Turnaround
67. Counting Subdivisions in 15/8
68. Counting in 15/8, Emphasizing First Beat of Each Subdivision
69. 15/8 Groove, Adding Melody
70. 15/8 Groove with Melody, Adding Rests and Ties
71. 15/8 Groove, Adding Chord Progression and Melody
72. Basic Montuno for Guitar
73. Montuno for Guitar with Modem Harmony
35. Modal Voicings from the Major Scale Mixing
36. Modal Voicings from the Melodic Minor Scale
37. Modal Voicings from the Melodic Minor Scale
74. Basic Bossa Nova Rhythm Guitar Pattern
76. 2 Against 3 Polyrhythm
Using Adjacent Strings 32 77. 12/8,6/8,3/4 Polyrhythm
78. 2 and 4 Against 3 Polyrhythm on a Progression Similar to "Someday My Prince Will Come"

79. Demonstration of Implied Metric Modulation
80. Short Composition Incorporating Implied Metric Modulation
81. Odd Culture, this from "Invisible City"
82. Past and Future Warriors from Invisible City (Odd Culture

Productions/Quicksilver Records)
Andre Bush cover photo

© Daniel Gohstand - danie/photo.com
Cover guitar images (AES620 series) courtesy of Yamaha
Corportation of America -
Audio CD produced by Andre Bush
Recorded by Peter Wolf at Wolfsound Productions
2 345 6 7 890

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5240 JAZZ GUITAR. J. Schroedl. CD TAB.

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JAZZ GUITAR. J. Schroedl. CD TAB.

Softcover with CD - TAB
Author: Jeff Schroedl

Featuring in-depth lessons and 40 great jazz classics, the Hal Leonard Jazz Guitar Method is your complete guide to learning jazz guitar. This book uses real jazz songs to teach you the basics of accompanying and improvising jazz guitar in the style of Wes Montgomery, Joe Pass, Tal Farlow, Charlie Christian, Jim Hall and many others. Lesson topics include: chords and progressions; scales and licks; comping and soloing styles; chord-melody; intros and endings; technique; equipment and sound; and more!

Songs include: Satin Doll - Take the A Train - Billie's Bounce - Impressions - Bluesette - My One and Only Love - Desafinado - Autumn Leaves - Watch What Happens - Misty - Song for My Father , and more. The CD contains 99 tracks for demonstration and play-along.

"Highly Recommended." Just Jazz Guitar

"Filled with well-written examples ... bask in the glory of having a lot of great material at your fingertips." Downbeat
80 pages

Autumn Leaves
Billie's Bounce (Bill's Bounce)
Bluesette
The Christmas Song (Chestnuts Roasting On An Open Fire)
Desafinado
Easy Living
Honeysuckle Rose
I Remember You
Impressions
Mr. P.C.
Misty
My One And Only Love
My Romance
A Nightingale Sang In Berkeley Square
Ornithology
Road Song
Samba De Orfeu
Satin Doll
Song For My Father
Take The 'A' Train
Watch What Happens

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