This original music for solo and duo guitar features beautiful melodies and convenient fingering and is very easy to perform. the author's comments explain how to move from classical style to jazz. the pieces, divided into two chapters, Etudes and Pieces, are written in different jazz styles: Swing, Bossa Nova, and Blues. Their melodies are perfect and their harmonies refined. Seven duets are included which may be played either by two guitars or by guitar and a melody instrument. They have fine melodies and are easy to perform. the first part can be played by the beginner. These duets can be used in teaching situations with teacher and student playing together. Written in notation only.

The accurate interpretation of swing rhythm is the most important element in jazz music. This collection of 7 jazz etudes and 11 exercises for solo guitar gives the student practice in playing this rhythmic pattern as well as working on other important skills. the etudes are written in notation only in different jazz styles: Swing, Latino, Bossa Nova, Blues, and Jazz Rock. These etudes develop the ability of the right hand to sound as if two or three instruments are playing simultaneously. All of the etudes have bright melodies and rich jazz harmony. They are intermediate in difficulty. the exercises feature numerous skills, including Swing style, walking bass, Latin style, finger speed, various rhythmic combinations, and broken lines.

This book is designed to familiarize classical guitarists with the musical vocabulary of jazz, and to encourage jazz guitarists to explore the beautiful sonorities and limitless expressive potential of the classical guitar. the first half of the book contains theoretical explanations focused on harmonic analysis of the types of chord changes and song forms one routinely encounters in the jazz repertoire, as it demonstrates the application of all twelve notes of the chromatic scale to any chord in any situation. the second half of the book is comprised of Ken Hatfield's original compositions and transcriptions of his improvised solos. Both the tunes and the transcribed solos demonstrate how the theoretical material in the first half of the book can be artfully applied within the context of compositions representing three musical genres that have served as wellsprings of renewal throughout jazz's deep and illustrious history: blues, rhythm changes, and standards. the 14-track companion CD includes all the music from the second half of the book. the music is recorded in a variety of contexts, including solo, duo, trio, and quartets of differing strumentations. Two of the songs are designed so that the student can play along with the rhythm section. Twelve songs feature Ken playing the heads and the solos. Ten of these are transcribed in their entirety, while two leave the solos for the student to transcribe (in total or in part) as ear training exercises.

This is the internationally acclaimed Joe Pass guitar method in which Joe displays his mastery of the jazz guitar. Part One/Harmony, is divided into five sections on chord construction, embellishment, substitution, connection, and symmetric chords. Part Two/Melody, is divided into twelve sections, including chord scales, altered scales, ear training, whole tone scales, chord resolutions, improvising, blues, minor blues, modern blues, rhythm changes, 3/4 blues, and includes a transcribed solo recorded by Joe on his album for Django.

A new aid to learning Jazz Improvisation from the ground up in an easy to follow and easy to learn method. Plenty of exercises and jazz etudes.

These 21 original pieces for classical guitar feature bright melodies, convenient fingering, and exquisite harmonies. They are composed so that their performance gives an impression of two or three instruments sounding simultaneously. the collection contains 12 12-bar blues, all in different keys, at an intermediate level; a difficult etude in blues form; and six jazz preludes which are easy to intermediate. Written in notation only.

The exercises and etudes in this book will help students gain the technique needed to execute great jazz lines. A mixture of technique builders and etudes are all designed to give jazz guitarists a daily workout. All of the exercises in this book are written with the plectrum guitarists in mind, but this doesn't mean that fingerstyle guitarists can't benefit from the exercises as well.

Presents twenty, four-bar exercises written by Jimmy Wyble followed by exhaustive harmonic, rhythmic, and scale permutation of the four-bar exercises by Ron Berman. Accompanying CD contains recordings of exercise permutations. This text gives insight to the vast melodic and harmonic possibilities available to composers and arrangers of guitar music. Examples should be used as ideas for improvisations, compositions, or springboards for new original material. Any musical idea, as shown in this book, may be permutated to create almost limitless original ideas. Exercises are presented in standard notation only.

When improvising, what your mind hears is more often than not determined by what your body can reproduce on your instrument. Much of your conception as an improviser is determined by your technique. If you can't play certain types of ideas, you are simply not going to conceive of them while you are improvising. Even if you could, it wouldn't matter, since you couldn't play them anyway. This book presents serious chops-building technical studies for single note lines and chords. Plus, the examples feature a lot of harmonic content. The material is written in standard notation.

(Keyboard Instruction). Legendary jazz pianist Oscar Peterson has long been devoted to the education of piano students. In this book he offers dozens of pieces designed to empower the student, whether novice or classically trained, with the technique needed to become an accomplished jazz pianist.