CHORD KHANCEPTS PDF

The Autoharp Alexandra Shealy. The 16 transcriptions offered in this edition were also done during my U. Insights which, at times, might be in sharp contrast chord khancepts what Pat might say himself about his own work! The second half of it or so gets more into the quartal harmony stuff, which I find interesting, and he presents chord khancepts good exercises, good concepts for how to use it, and a LOT of examples of chords.

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The book is drawn from concepts which I have been sharing with my private students, and those who have attended my clinics and master classes, for now over 30 years. As there are already many fine books dealing with "jazz lines" and their formation, and various theories about how one can best "speak the linear language" of jazz, I felt that I had to narrow my focus and concentrate on one area. It is, hopefully, a relatively comprehensive study of the improvisational usage of, what I feel are, the two most common pentatonics: the minor pentatonic[R, m3rd, 4th, 5th, 7th] and what I have come to call the dominant 7th pentatonic[R, 2nd, 3rd, 5th, 7th].

In addition, the book tries to clarify the difference between the "blues scale" and the "minor pentatonic" scale. With that done, the book shows how one can then "backtrack" and put to use the blues scale over what might seem to be some pretty uncommon chord structures.

It all works beautifully together in the end. The book then seeks and explains, and in great detail, how one goes about applying these simple formations to the basic harmonic "families" encountered in "jazz" or any music where improvisation is important. Any instrumentalist could benefit from the concepts in this book. The book is really geared towards everyone! It appears in standard notation with TAB The book can be obtained from Amazon.

Perhaps best of all, Warner Bros. Publications was generous enough to include two 2 play-along CDs with the book. Those tracks are: [11][13][15][7] and [9]. The book takes you from the fundamental two-voice building blocks: the guide tones, through the traditional approach to guitar voicings, and finally, my own personal approach to achieving unique and individual harmonic colors. In truth, I really never thought that I would ever be able to publish a book much less one on Wes, but, I was very lucky to have my father guide me to Bernie Fisher of Plymouth Music when the company was located in New York City.

The 16 transcriptions offered in this edition were also done during my U. After years of sharing them as photocopies with countless private students, and at the insistence of some of them, I decided to make the effort to find a publisher. Insights which, at times, might be in sharp contrast to what Pat might say himself about his own work!

When all is said and done, the notes he played speak for themselves. It is also available from Alfred Publishing Co. And, of course, from Amazon. In addition to the actual written music, each tune offers my personal anecdotes which could be about the derivation of the title, the influences, something about the actual recording itself, or just a story connected to the piece.

For fans of this group and its recorded output, the book is a must and hopefully answers the most frequently asked questions. There you can find just about all of them, and in a better form than they appeared within the book.

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CHORD KHANCEPTS PDF

The book is drawn from concepts which I have been sharing with my private students, and those who have attended my clinics and master classes, for now over 30 years. As there are already many fine books dealing with "jazz lines" and their formation, and various theories about how one can best "speak the linear language" of jazz, I felt that I had to narrow my focus and concentrate on one area. It is, hopefully, a relatively comprehensive study of the improvisational usage of, what I feel are, the two most common pentatonics: the minor pentatonic[R, m3rd, 4th, 5th, 7th] and what I have come to call the dominant 7th pentatonic[R, 2nd, 3rd, 5th, 7th]. In addition, the book tries to clarify the difference between the "blues scale" and the "minor pentatonic" scale.

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