martedì 15 gennaio 2013
GUITAR COMPENDIUM 3 HOWARD ROBERTS & GARRY HAGBERG. LIBRO METODO PER CHITARRA IMPROVVISAZIONE ARPEGGI
Table of Contents
Preface: What Is Praxis? .
The Fingerboard Map: Arpeggios
(162) Introduction to Section VII .
Part 32: Playing Arpeggios in Positions
(163) Major Arpeggios .
(164) Minor Arpeggios .
(165) Augmented Arpeggios .
(166) Diminished Arpeggios .
(167) Diatonic Arpeggios .
(168) 7th Arpeggios - Major and Minor .
(169) Dominant 7th and Minor 7~5 .
(170) Diatonic Sets of 7th Arpeggios .
Part 33: Lengthwise Arpeggios
(171) Major 7th .
(172) Minor 7th .
(173) Dominant 7th .
(174) Minor 7~5 .
(175) Lengthwise Diatonic Sets .
Part 34: Extended and Altered Arpeggios
(176) Diminished 7th .
(177) Beyond the Octave: 9ths .
(178) Beyond the Octave: llths and 13ths .
(179) Alterations: ~5thsand #5ths .
(180) Alterations: ~9ths,#9ths, #llths, ~13ths .
Part 35: Arpeggio Combinations
(181) Introduction to Arpeggio Combinations .
(182) Arpeggio Cycling .
(183) Cycling II .
(184) Cycling III .
Part 36: Creative Applications and Performance
(185) Double-Stop Arpeggios .
(186) Embellishing Arpeggios .
(187) Quartal Arpeggios .
(188) Broken Arpeggios .
(189) Octave Dispersions .
(190) Gliss Picking .
(191) Ghosting Arpeggios .
(192) Mixed Arpeggio Extensions .
(193) Postscript: Mastering Arpeggios .
Part 37: Further Questions
(194) Auditions and That Sinking Feeling: Panic vs. Professionalism .
(195) Disjointed Licks vs. Lines through the Harmony .
(196) Chord Tone Security for Improvisations .
(197) Extension Security for Improvisations .
(198) Alteration Security for Improvisations .
Part 38: Further Questions - continued
(199) Putting Part 37 Together .
(200) Encountering DifficultRhythmic Figures .
(201) Able To Sing What You Play / What You Hear / What You Read .
(202) Is That Your Improvised Solo Or A Trumpet Exercise? .
(203) "AllGreek to Me" vs Musical Understanding: Active Listening .
Essential Theory For Guitarists
(204) Introduction to Section IX:Why Theory? .
(205) Review of Essential Music Tools .
(206) Definitions .
(207) Scales, Intervals, Arpeggios, Chords .
(208) Visualization .
(209) Checklist for Part 39 .
(210) Key Signatures .
(211) Diatonic Harmony .
(212) Minor Scales and Their Harmonies .
(213) The Chord-Scale Connection .
(214) Chord Construction .
(215) Extensions and Alterations .
216) Guitar Voicing .
217) Inversions .
218) Chord Substitutions .
2 9) Key Centers and Harmonic Analysis .
(220) Chord Progressions and Reharmonization .
(221) Chordal Textures .
222) Voice Leading .
223) Transposition .
224) Melodic Motifs .
225) Rhythmic Motifs .
(226) Passing Tones .
(227) Guide Tones .
(228) Thematic Development .
(229) Thematic Erosion .
(230) Sonic Shapes: Aural-Visual Analogues .
(231) Rhythmic Patterns and Pattern Recognition .
(232) Mind Over Music: How To Play What You Hear In Your Head .
(233) The Sense of Form .
(234) The Overtone Series .
(235) Modes .
(236) Bitonality and Scale Superimposition .
(237) Counterpoint and the Fingerboard .
(238) The Blues .
(239) Glossary of Terms and Symbols .
About the Authors .
Preface: What Is Praxis?
Praxis: The Guide To Twentieth-Century Guitar:
• Efficient Practice And Results Now
• Chart Your Own Course
• A Comprehensive View Of Guitar
Praxis is the first instructional book of its kind. Ittakes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. The Praxis program makes available to all guitarists a comprehensive and unified body of instructional material, and within Praxis, students and teachers are given the freedom to chart their own courses according to their own musical interests and needs.
Who Needs Praxis?
• The Music Is Already Inside You
• Musical Tools For All Styles
• Make The Music You Want To Make
Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical zones and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlike traditional guitar books, Praxis realizes that music is already inside you and that it only needs an avenue toget out. Through the development of musical skills, Praxis provides such avenues.
The Musician Within:
• Theory Can Paralyze
• Learn Through The Instrument, Not On It
• Get The Sound Out Now
• Use Fingerboard Visualization
• Hear It In Your Head, Then Play It
Too often in learning to perform music, an initial overabundance of theoretical information precedes the mastery of specific skills. As a resul t, learning to play appears to be overw helming ly com plex: theory paralyzes practice. In these volumes this order is reversed. The material is presented, not first in the abstract and only later placed on the instrument, but rather through the instrument. Thus, the name of the collection ("Praxis" comes from the Greek word meaning "practice" and "to do") accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. Also althoug h musical fashions come and go, style endures. Praxis provides the player with all the building blocks ofa style which is individual, masterful and lasting.
One Step Beyond:
• Originators Vs. Imitators
• Musicianship Skills
• Encourages Musical Innovation
Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators ra her than originators, and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond.
Preface: What Is Praxis?
HOWARD ROBERTS (b. 1929)is among the most influential and accomplished guitarists in this century. The recipient of many honors and awards, he earned early in his career the Downbeat New Star Award and was repeatedly a poll-winner on guitar; more recently he was made a member of the Gibson Hall of Fame. He is widely recognized as the dean of studio guitarists and has over a number of decades recorded with almost everyone in the world of professional music throughout a very broad range of styles. His list of performances on record, film, and television is unparalleled. In addition to his extensive studio work he has recorded a large number of albums under his own name, which are generally regarded as having set new standards both for guitar technique and for jazz improvisation. Roberts has also contributed to experimental improvisation and composition with the ground -breaking Antelope Freeway and Equinox Express Elevator recordings, and he has been generally responsible for significantly expanding the function of the guitar within ensemble contexts. His contributions to instrumental design are seen in the various Howard Roberts model Gibson guitars, and he made similar contributions to sound reinforcement for the guitar with Benson amplifiers. His contributions to music education have also been pre-eminent among guitarists: he is co-founder of the Musicians' Institute in Los Angeles, for which he produced the curriculum, he developed the highly respected Howard Roberts Guitar Seminars, he has for years been a featured columnist in Guitar Player magazine where he also serves on the editorial board, and he has published earlier instruction books for guitarists on topics such as the chord-melody style, sightreading, and jazz improvisation technique which are definitive statements in those areas. He is presently engaged in writing a text on jazz improvisation with Hagberg and with the world-wide launching of his beginning-level comprehensive guitar education program, the Chroma System. Roberts brings to The Guitar Compendium the culmination of one of the most distinguished careers in the history of the instrument.
GARRY HAGBERG (b. 1952) has taught both jazz and classical guitar in the School of Music of the University of Oregon for a number ofyears, where he also taught jazz improvisation and analysis and lectured in the history of musical aesthetics, in twentieth-century music and theory, and in further topics relating music to cultural history. As a jazz guitarist he has recorded, toured, and performed in America and Europe. In recent years, Dr. Hagberg has pursued research at the Folger Institute, Washington, at the British Library, London, at the Department of Music at Dartmouth College, at the Institute for the Theory and Criticism of the Visual Arts, and at Oxford in the field of perception in the arts. He has contributed numerous articles on a wide range of topics to professional journals including the British Journal of Aesthetics and the Journal of Aesthetic Education; these writings include discussions of artistic expression, intention, imagination, representation, the creative process, literary interpretation, and the relations between the arts, music, and language. He is presently engaged in a study of twentieth-century analytical philosophy in its relation to problems of artistic and musical meaning, and is also preparing a further volume with Roberts on jazz improvisation for players of all melodic instruments.
Hagberg's work has been supported by numerous foundations and organizations, including the National Endowment for the Humanities and the Institute for the Arts and Humanistic Studies of The Pennsylvania State University. He has held a number of visiting appointments at colleges and universities, and is presently a member of the interdisciplinary Humanities Division of the Pennsylvania State University at Harrisburg.
Hagberg brings to The Guitar Compendium a background extending into guitar teaching and performance, jazz, and other forms of twentieth-century music, advanced work in philosophy, psychology, and music, and breadth in research and writing throughout music, the arts, and the humanities.