Joe Goldstein – Guitar Method Towards A Jazz Improviser’s Technique

Joe Goldstein - Guitar Method Towards A Jazz Improviser’s TechniqueДжо Голдштейн: “Гитарный метод по отношению к технике джазового импровизатора”.

Ноты, аккордовые диаграммы, звуковые примеры песен.

Содержание:

I. Intro Pg. 1
II. Tuning & Setup Pg. 5
A. The Grand Staff
B. Using a Tuner
C. Intonation
D. Action and String Gauges

E. About Whammy Bars
III. Learning The Fretboard Pg. 11
A. The C Major Scale….(how to find the “natural” pitches on each string)
IV. Basic Guitar Techniques Pg. 13
A. Overview
B. Holding the Pick
C. Fretting Hand: Placement of the Fingers
D. String Dampening
E. Fretting Hand: Placement Of the Thumb
F. Fretting Hand: Finger Stretches
G. Fretting Hand: The Wrist (About Carpal Tunnel Syndrome)
H. Position Playing on Single Strings
V. Single String Exercises Pg. 19
A. 6th String
B. 5th String
C. 4th String
D. 3rd String
E. 2nd String
F. 1st String
G. Phrasing Possibilities On A Single String
VI. Chords: Construction/Execution/Basic Harmony Pg. 35
A. Triads
1. Construction
2. Movable Triadic Chord Forms
a) Freddie Green Style – Part 1
(1) Strumming
(2) Pressure Release Points
(3) Rhythm Slashes
(4) Changing Chords
3. Inversions
4. Open Position Major Chord Forms
5. Open Position – Other Triadic Chords
a) Palm Mutes
B. Seventh Chords
1. Construction
2. Movable Seventh Chord Forms
3. Open Position Seventh Chord Forms
C. Chords With Added Tensions
1. Construction
D. Simple Diatonic Harmony
E. Elementary Voice Leading
F. Changes To Some Standard Tunes
1. All The Things You Are
2. Confirmation
3. Rhythm Changes
4. Sweet Georgia Brown
5. All Of Me
5. All Of Me
VII. Open Position Pg. 69
A. Overview
B. Picking Techniques
1. Alternate Picking
2. Triplet Picking Techniques
3. Reverse Alternate Picking
4. Sweep Picking (aka Economy Picking)
C. The Major Scales
D. Miscellaneous Exercises
E. Suggestions For Tunes to Learn
VIII. Shell Voicings Pg. 79
A. The Concept
B. Freddie Green Style – Part 2
1. Spread Triads
2. Alternating Root And 5th In The Bass
3. Tri-Tone Substitution Introduction
4. Passing Chords Introduction
5. Three Note Voicings For Inversions Of Seventh Chords
C. Guide Tones
D. Chords With 3 Or More Tensions
IX. Position Playing Pg. 95
A. The Chromatic Scale In Position V
B. The C Major Scale in 12 Positions
C. The 7 “Regular” Major Scale Position-Style Fingerings
D. All 12 Major Scales in A Single Position (Pos V)
E. Position-Style Arpeggios
F. Phrasing Possibilities In Position
G. Sight Reading Tips
H. Suggestions For Tunes To Learn
I. Intervallic Patterns In Position
J. Combining The Single String Approach With The Position Approach
X. Improvising With Chord Tones Pg. 121
A. Chord Tone Exercise #1
B. Passing Tone Exercise #1
C. Other Similar Exercises
1. Chord Tone Exercise #2
2. Chord Tone Linking Exercise #1
3. Scale Linking Exercise #1
XI. Chord Scales Via Modal Theory (Part 1) Pg. 131
A. Modes of C Major
1. C Ionian
2. D Dorian
3. E Phrygian
4. F Lydian
5. G Mixo-lydian
6. A Aeolian (Natural Minor)
7. B Locrian
XII. Pentatonic Scales Pg. 139
A. Formation
B. Occurrences Within the Major Scale
C. Uses Of
D. The Blues Scale
E. Mixing the Blues Scale with Chord Tones
XIII. Chord Scales Via Modal Theory (Part 2) Pg. 147
A. Modes As Scales In Their Own Right
1. Ionian
2. Dorian
3. Phrygian
4. Lydian
5. Mixo-lydian
6. Aeolian
7. Locrian
B. Modes of Other Scales
1. Modes Of The Harmonic Minor Scale
a) Harmonic Minor
b) Locrian –6
c) Ionian Augmented
d) Dorian #4
e) Mixo-Lydian º2º6 (aka ÒThe º9 ScaleÓ)
f) Lydian #2
g) The 7th Mode Of The Harmonic Minor (Super Locrian õ7)
2. Modes Of The Jazz Minor Scale
a) Jazz Minor
b) Dorian º2
c) Lydian Augmented
d) Lydian º7 (aka Lydian Dominant)
e) Mixo-Lydian 6
f) Locrian –2
g) Super Locrian
h) The Altered Scale
3. Tetrachords and Scale Construction
4. Modes Of The Harmonic Major Scale
a) Harmonic Major
b) Locrian –2–6
c) Phrygian º4
d) Jazz Minor#4
e) Mixo-Lydian º2
f) Lydian Augmented #2
g) 7th Mode Of The Harmonic Major Scale (Locrian õ7)
5. Modes Of The Symmetrical Scales
a) The Symmetrical Diminished Scales
(1) Modes Of The Harmonic Minor º5 Scale
(a) Harmonic Minor º5
(b) Half – Whole (omit 5)
(c) Jazz Minor #5
(d) Dorian º2#4
(e) Lydian Augmented #3
(f) Lydian #2º7
(g) Half – Whole (omit º7)
(2) Modes of The Jazz Minor º5 Scale
(a) Jazz Minor º5
(b) Half – Whole (omit º5)
(c) Jazz Minor #4#5
(d) Lydian º2º7
(e) Lydian augmented #2#3
(f) Locrian –2õ7
(g) Half – Whole (omit 6)
b) The Whole Tone Scale
c) The Symmetrical Augmented Scales
6. A Summary Of Chord Types And Chord-Scales
7. Determining A Chord Scale Via Harmonic Analysis
8. Determining A Chord Scale Via Other Horizontal Considerations
XIV. Some Simple Techniques For Harmonising Melodies Pg. 187
A. Melody + Bass Note
B. Harmonising A Melody With Shell Voicings
1. Four Note Voicings
2. Three Note Voicings
XV. Block Chords Pg. 195
A. Construction
B. Voice Leading
XVI. Melodic Uses Of The Non Chord Tones Pg. 209
A. The Accented Inharmonics
1. Tensions
2. Appoggiaturas
B. The Unaccented Inharmonics
1. Passing Tones
2. Auxiliaries
3. Unprepared Approach Notes
4. Cambiatas
5. Escape Notes
C. Melodic Analysis Examples
1. Melodic Analysis Of Donna Lee
D. Target Notes
1. The “Be-Bop” Scales
2. Chromatic Approach Notes
3. Other Chords As Target Notes
4. A Summarry Of The Available Tensions On 7th Chords
XVII. Finding Good Fingerings For Single Note Lines Pg. 225
XVIII. Rhythms Used In Comping Pg. 231
A. Swing:
1. 4/4 The “Charleston” Figure
2. 3/4 The Jazz Waltz
B. Latin:
1. The Clave Rhythms
C. Ballads
D. Broken Time
XIX. More Chord Melody Techniques Pg. 237
A. Advanced Voice Leading
XX. Playing What You Hear Pg. 241
XXI. Voicings Derived From Chord Scales (not written yet)
A. Quartal Voicings
B. Quintal Voicings
C. Clusters
XXII. Melodic Shape/Motific Development (not written yet)
XXIII. Superimposition (not written yet)
XXIV. Poly-Rhythms (not written yet)
XXV. Miscellaneous Studies And Technical Exercises (not written yet)

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