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Thanks from Jim Kelly I would like to thank all my family: my parents, Jim and Anne, for helping every step of the way, including buying that first electric guitar; my wife Meg who gave the love, support, and room to develop this music; and my kids, Matt and Kate, for being the great people they are. Thanks to the guys in the band— Jim Odgren, Bob Tamagni, Bob Killoran, and Christian Bausch— for bringing the charts to life. There are so many people at the college I should thank, but I must mention Larry Baione, Rick Peckham, Tony Marvuglio, Matt Marvuglio, Larry Monroe, and Tom Riley, who have helped greatly in getting this material out. Lasdy, I must thank all the students and friends who have helped by working through this material at the college and abroad: I hope you recognize some of it.
C re d its Multimedia Authoring and Production Doug Parker Roerden
Multimedia Engineering/Production Assistance Bruno Canale Emmanuel Hungrecker Ernest Klar Irene Vivanco Maria Clementine Wulia
Audio Jim Kelly: Guitar Bob Tamagni: Drums Jim Odgren: Alto Sax Bob Killoran: Electric Bass Christian Fabian Bausch: Acoustic Bass Rob Jaczko: Producer/Engineer Tony Marvuglio: Associate Producer Mike Barrett and Alex Chan: Assistant Engineers
Video Reggie Lofton: Videographer Carla Caminos: Video Assistant
MIDI Programming Denis Rodger
Graphic Design Dave Miranda
Copyediting Lisa Burrell
Text Transcription Steve Melisi
Special thanks to: President Lee Eliot Berk Gary Burton
Additional thanks to: David Mash Bill Scheniman Sherry Baker Mark Wolinski Joe Hostetter Rob Hayes Rob Rose Dorothy Messenger Kim Grant Eric Hanselman Tom Riley Dave Kusek
A u d io C D 1
Like Kenny
Trio
3:02
2
’Til Tomorrow
Trio
3:15
3
Etta
Trio
1:37
4
Jumpin’ with Joe
Quartet
4:40
5
The Shrubber
Solo
1:53
6
Study in C Minor: Wake It Up
Solo
1:26
7
Of All Things
Trio
2:13
8
Mr. Stem
Quartet
4:33
9
All in a Name
Quartet
4:42 0:22
10 Tuning Notes 11
R & B Rhythm
Trio
12
R & B Rhythm
Trio
1:09 No Guitar
1:11
13 Like Kenny
Trio
No Guitar
3:08
14
’Til Tomorrow
Trio
No Lead
3:17
15
’Til Tomorrow
Trio
No Rhythm
3:17
16 Etta
Trio
No Lead
1:37
17 Etta
Trio
No Rhythm
1:37
18 Jumpin’ with Joe
Quartet
No Sax
4:42
19 Jumpin’ with Joe
Quartet
No Guitar
4:42
20
Of All Things
Trio
No Guitar
2:12
21
Mr. Stem
Quartet
No Guitar
4:32
22
All in a Name
Quartet
No Guitar
4:3f
Contents About the Author, Berklee Press, and Berklee
1
Introduction
3
Lead Sheets
5
Like Kenny
6
’Til Tomorrow
8
Etta
10
Jumpin’ with Joe
12
The Shrubber
16
Study in C Minor: Wake It Up
18
Of All Things
21
Mr. Stern
24
All in a Name
26
R & B Rhythm
28
Tablature and Fingerings
31
Like Kenny ’Til Tomorrow
32
Etta
36
34
Jumpin’ with Joe
38
The Shrubber
42
Study in C Minor: Wake It Up
44
Of All Things
47
Mr. Stern
50
All in a Name
51
R & B Rhythm
52
About the Author
Berklee Press
Jim Kelly is a professor of Guitar at Berklee
Berklee Press develops instructional
College of Music. One of the cornerstones of
materials for musicians facing the
the guitar faculty, Kelly has traveled the
challenges of today’s professional music.
world, teaching and performing throughout
The press currently carries more than 80
Europe, South America, and Japan in the
books for a variety of instruments and
college’s “ On the Road” series of clinics. For
abilities.
over 20 years, Jim has worked closely with several thousand aspiring guitarists, building
Berklee
their technique, feel, and confidence. He has
Founded in Boston in 1945, Berklee College
for many years been the most requested guitar
of Music is the world’s largest independent
teacher on the faculty.
music college and the premier institution for the study of contemporary music. The
Kelly plays in a variety of settings that helps
college’s 3,000 students and 300 faculty
give a diverse but practical edge to his
members interact in an environment that
teaching. He has performed with swing blues
includes all of the opportunities presented
guitarist Duke Robillard, the contemporary
by a career in the contemporary music
musical Rent, rock singer Peter Wolf, and
industry. Guitarists make up one-third of
many great Berklee alumni including Makoto
the student body.
Ozone, Stu Hamm, Bill Frisell, Gary Chaffee, John Abercrombie, and Gary Burton. The band on the CD is his group the Sled Dogs, which has long been an oudet for his compositions and guitar playing. They have a release on RAM Records titled “The Music of Jim Kelly.”
Introduction Welcome to Jim Kelly’s Guitar Workshop. For years I’ve written material to use in private lessons, ensembles, and workshops entitled Jazz Rock Improvisation and Jazz Rock Rhythm Guitar. This is a collection of songs and studies that I use in the classroom and in concert, for the student as well as thè working professional. This is not a method book as such, nor is it aimed at a specific level of experience. It need not be studied in sequence. Some parts will be very difficult for a beginner, and some parts easy for the more advanced player. This is resource material to play with friends, teachers, students, or the enclosed CD. Many of these songs I play on gigs because the arrangements are simple enough to learn quickly with a band and there’s room to “ stretch” and solo. The studies are designed to develop different skills and to build musical and technical vocabulary. The CD falls somewhere between a “record” and a “play-along.” The band and I wanted the music to be as alive as possible to keep the sound real while preserving the option of removing the guitar later. You will notice some leakage of the guitar track when it is removed, especially with the acoustic bass. We recorded live in the studio and got as much isolation as we could while keeping a natural feel. Any flaws contained in the performances were left as a matter of “ close enough for now.” Strive for perfection, but in the meantime, play the best you can. I hope you enjoy this material and find it as useful as I have. Jim
3
Lead Sheets
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13 (no guitar)
In Head: twice Guitar Solo: 4 choruses O u t Head: twice
This is a 12-bar blues in A minor. The title is a dedication to Kenny Burrell, one of the great jazz guitarists. Kenny can easily play over more difficult chord progressions, but he has a good “ down home” feel when it comes to playing the blues. Many blues-based guitarists, such as the late Stevie Ray Vaughan, have an affinity for Kenny because of this feel. Kenny was probably the first guy I heard playing a “head” (a melody line) of single notes mixed in with chord “ comping” (accompanying). This gives a good alternative to playing just single note lines and can fill out the sound, especially in a keyboardless group. Check out how some other players do this (for example, Wes Montgomery, Jim Hall, and John Scofield). I tried to keep the recorded solo on the CD sparse, not overcrowding the groove with too many notes. Kenny is great at this. I suggest, when playing the head, not to get too heavy on the chords. Think of the single-note line as the part to draw out and the chords as backup. Try sliding into some of the chord voicings as well as the melody notes. Usually this isn’t written in, but you’ll hear it when you listen.
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’T il T o m o rro w Audio C D Tracks
Play-along
14 (no lead guitar) 15 (no rhythm guitar)
In Head: once Guitar Solo: 3 choruses
I liis song has what is generally described as a Latin groove. To jazz musicians, this means not swing or triplet-based, but even eighth notes derived from Brazilian, Cuban, Spanish, Caribbean, or other music, often coming from South America. Latin traditionally was also a way to describe a rock groove since many rock songs contain even eighths.
O ut Head: once
The melody is primarily two-note voicings or “ double stops.” The term “ double stops,” I behove, comes from violin and cello music, when you hold down two notes. Since there are no frets, it is not called fretting, and you need at least three notes to give a chord name. The.melody is harmonized mostly in intervals of 6tlis and 3rds, with an occasional 4th or 5th. On the recording I didn’t use a pick, but 1 often play with the pick and use my middle finger to grab the top note (the higher note). This kind of harmony is also often found in country music and is a good alternative to single-note lines, especially when using a clean tone. listen for slides in and out of voicings. 1 was tempted to write them in, but I think it is better to learn the melody and add the slides after, where they seem to fit. The rhythm guitar track was added later. I am using standard bar chords to keep the voicings simple. Listen to die track for some ideas. Work on rhythms that complement die feel. Mainly try (o lock in with the groove.
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Etta A u d io C D Tracks
Play-along
16 (no lead guitar) 17 (no rhythm guitar)
In Head: once Guitar Solo: 2 choruses O ut Head: once
“Etta” is an 8-bar r&b tune that has a very vocal feel to it. Even though it was written as an instrumental, you can easily hear lyrics sung to this groove. Etta James, a great rhythm and blues singer, really shines at this groove and tempo. The harmony consists of only two chords, A (major) to B-7 (I to II—7). These are the first and second chords in the key of A. For soloing, the whole A major scale would fit, but the emphasis is on the A major pentatonic.
Major pentatonics consist of the 1st, 2nd, 3rd, 5th, and 6th degrees of the major scale, so A major pentatonic contains the notes A, B, C#, E, and F#. For example, check out the melody to the tune; all the notes fall in this scale. To help clear up something that is often confusing, I’d like to point out that F# minor pentatonic has the same notes as A major pentatonic. The intervals for a minor pentatonic are 1, b3, 4, 5, and b7. What often happens is if someone says “A pentatonic,” they really mean A minor pentatonic (C major pentatonic = A minor pentatonic). Back to the groove, this has a real shuffle feel to it, a triplet feel. Swing also has a triplet feel to it, but shuffle has a stronger accent than swing on the 2nd and 4th beats (or “2 and 4,” also called a backbeat). The rhythm has a muted attack on the 2nd beat. In this particular piece, I strum with a down stroke and mute with the side of my picking hand at the same time. This creates an accent with no chord sound. Muting is a very important technique, and both hands are used for it in different situations. It’s a good thing to experiment with. When playing the head and soloing, try to keep this vocal feel. Using slides, bends, hammers, and so on helps with this. A few of the players who are great with this feel are Freddie King, Carlos Santana, and Jeff Beck. On this session I chose to use a clean tone, but feel free to crank up the gain and dig in.
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18 (no sax) 19 (no guitar)
In Head: once Sax Solo: 4 choruses O u t Head: once with coda
form in your head. Learn to recognize the sound of the bridge when it occurs. Getting back to Joe Pass, I learned the use of many of the chords in this study from listening to him. Most (if not all) of the chords in this study don’t have their root in the bottom (in the bass). These kinds of voicings are often found in jazz piano and horn arranging as well as jazz guitar. The sax doubles the lead line (melody) of the guitar part, creating a sort of a mini-big band sound. The feel is swing, with a nod to the jump swing feel of another singer and famous “Joe” : Big Joe Turner, who performed when jazz was first influencing rock and roll, and vice versa.
For many years I have taught for a Berklee program at the Umbria Jazz Festival in Perugia, Italy: a great festival and a beautiful city. One year, Joe Pass was a guest clinician and I wrote this piece with the intention of playing it with him, but nnfortunately the time flew by and it didn’t happen. At least I have a tune dedicated, to a man whose jazz chord-playing was incredible. The form is AABA: traditional for standard jazz tunes. Each A section (also called “A” ) is 8 bars long, and the bridge (“B” ) is also 8 bars, for a total of 32 bars (a common length in jazz). In this song — as in many other AABA songs — once you understand and can play the A sections, you have three-quarters of the tune down, leaving the 8 bars of the bridge to learn. If you are new to jazz, it is easy to get lost in the form. I suggest clicking off in your head “top” every time the AABA cycle is completed. On the recording, the melody is played
If this chord work is new to you, you might need a teacher to help understand how it works. But learning to play the tune will help you to understand the sounds. On this particular recording, the alto (Jim Odgren) is the featured soloist, and the role of the guitar is “ comping,” playing chordal backup. This is a study in itself and, like other aspects of rhythm guitar, is a lifelong learning experience. Check out when chords, are attacked in this style, and do your best to find the voicings. It helps to refer to the lead sheet because the chord sounds you hear will be related to the written ones. On the CD version without guitar, try to blend with the sax melody and complement his solo with chords you know that seem to fit. On the version without sax, try soloing over the form. Something to note: the sax, guitar, bass, and drums were recorded at the same time, and parts were removed. When trying for a blend, you’ll want to play differendy than if you are playing
Th e Shrubber A u d io C D Track
Solo Guitar 5
I wrote this solo piece with the intent °f having something to practice and play that would work as part of an imaginary movie soundtrack. I have often written with this approach. In this case, there is what I imagined as a medieval or “Robin Hood” feel. Upon completion, I thought it could be included in the film Monty Python and the Holy Grail if I could go back in time. It was written on the electric guitar, but I really prefer the way it sounds on the steel-string acoustic. I strum a little closer to the bridge than I usually would to get a brighter tone and drag the pick slightly for an arpeggiated feel. Most of the chord voicings contain some open strings. I sometimes play the second section at a different tempo than the first. Since each section sounds like a new tune, a slightly new pace can work. Try to get a smooth transition between sections and experiment with the sound and dynamics .
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DC.
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S t u d y in C M i n o r ( W a k e It U p ) A u d io C D Track Solo Guitar
6
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I wrote this study to concentrate primarily on the picking hand, or the “right hand,” as it is often called, even if you aren’t right-handed. Given the choice, I generally don’t pick every note, as when soloing in blues or jazz. Other articulations such as slides and hammers feel to me like an important part of this phrasing. On the other hand, I wanted to keep a certain degree of accuracy in picking, something I’ve always had to work on. Every note is played twice in this study, and the only logical choice is alternating down and up strokes. Cello and violin etudes (studies) often have this repeated-note writing to help develop bowing technique, I believe. When I speak of studies developed for myself, they are often developed simultaneously for students because I generally hope that if it is something I find valuable, students will as well. Truthfully, I still think it’s hard to get all the way through without messing up. I didn’t intend it as a performance piece originally, but my sincere congratulations if you make it all the way without a snag. One last word of advice: if you have trouble making the string skips, try resting the fingers of your picking hand lightly on the pick guard. This can act as a pivot. Traditionally speaking, this was often considered incorrect, but as long as it doesn’t cause tension in the hand, it can improve accuracy for some players.
20
O f A ll Th in g s A u d io C D Tracks
Play-along
20 (no guitar)
In Head: once Guitar Solo: 2 choruses O u t Head: once
This is an exercise written over a standard jazz progression. It is not intended to be a melody or “head.” It is intended to sound like a transcribed jazz guitar solo. In many ways, trying to play a written solo differs from improvising. When you truly improvise, the line takes shape as the moment occurs and you draw from all the vocabulary and skills you have developed up to that moment, which doesn’t mean it all comes out as you would like. A benefit of listening to and studying other players’ solos is to build technique and vocabulary and to experience the feel of the line and the articulation. Much of the articulation is similar to the kind pioneered by players like Wes Montgomery and Jim Hall. Instead of picking each note, pick some (and not others) for a more legato feel. This type of playing includes many slides, hammer-ons, and pull-offs, which make a smoother line and better approximate the articulation of the saxophone, for example.
Some guitarists who have greatly influenced this study are Pat Metheny, John Scofield, and Mick Goodrick. They all use similar phrasing to one degree or another, and yet they still have very personal styles. One tendency is to pick accented notes and to follow with an “unpicked” note when possible. The way to best learn this is similar to the way players learn rock and blues: understanding what works best in certain situations, for certain phrases. One key difference is that a more involved understanding of harmony and playing over the form is required in jazz. Pay close attention to the phrasing, and play it at different tempos. I play it twice on the CD, at the beginning and at the end. Excusing the raggedness, I hope it gives you some ideas of how to articulate at a fast tempo.
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Mr. S t e r n A u d io C D Tracks
Play-along
21 (no guitar)
Intro: 8 bars In Head: twice Sax Solo: 4 choruses Guitar Solo: 5 choruses O ut Head: twice
This tune is a dedication to Mike Stem, who is equally exceptional at bebop and funk-fusion styles. It has a 16-bar form and a half-time swingfunk groove (I’ve heard it called “swunk” ). It’s felt more in 2: that is, the half note gets the pulse. C minor is the overall sound. Start from there, and add anything you can in the way of scales and arpeggios to the chords, but try to keep it grooving. On the melody, strive for a blend with the sax, and you may notice that I occasionally throw in a chord voicing in the 8th measure, a G7#9. The first 12 bars of the melody are not too difficult. The last bars are the workout. This is the “ Stern” section, the stuff that Mike can fire out with ease. For myself, this kind of line is difficult and takes much practice. Work on this section slowly until you can play with the recording. Meanwhile, groove out over the solo section. Hey, try it with some friends.
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Plny-along
22 (no guitar)
In Head: twice Sax Solo: 4 choruses Guitar Solo: 4 choruses O u t Head: twice
When Stevie Ray Vaughan hit in the early 80s it was refreshing to me to hear some one with such great blues and rock roots shaking things up for a new generation, and so this was written in dedication to him. Not being a vocalist also got me into writing instrumental music, so having a blues melody gives a beginning and an end to a jam, and what happens in between is up to you and the rest of the band. Check out the chord comping behind the sax solo. It’s a mix of traditional blues guitar and stuff borrowed from other places (piano, horn sections, etc.).
This is the last tune to solo over in this book, and a fun one to play. It’s a good old 12-bar shuffle blues in A. This is a typical key for blues guitar, but not so in jazz. Most jazz blues are in F, Bb, etc., “ flat” keys. So although to a guitarist A may be typical, to a horn player it isn’t. Unless the horn player has worked a lot with r&b groups, as has Jim Odgren. I grew up listening to Mike Bloomfield, Albert, BB and Freddie King, Eric Clapton, and so on. Most of the rock music at that time was blues-based. I think a lot of contemporary jazz guitar is a mix of jazz and this era of rock and blues, a hybrid of the sound and feel.
So listen to some blues and try and build your solos. Dynamics and pacing are a few things that blues players study hard, things that are equally valuable in jazz. Work on changing your pick attack for different sounds and styles (this holds true for soloing and rhythm playing), and try not getting to frustrated when you don’t like the sound. Change is gradual, but it comes through repeated listening and practice.
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Play-nlong
12 (no guitar)
As the title implies, this is a rhythm guitar study. It is a good groove to work on and relies a lot on the use of string muting. The single note lines are strummed — that is, they are treated like chords.- This is accomplished by muting strings with your fretting hand (“left” hand). Blocking the sound of the surrounding strings allows you to get more aggressive with the strumming and helps in creating the groove. This is common in funk stuff as well as with players like Jimi Hendrix. Work on the muting and the feel, it will probably be stiff at first, but after you play it a while it will loosen up. A good exercise for this style of muting is to hold down one note, say D on the 5th fret of the A string with your first finger. Now strum with the pick, but get only the one note. Use the side of this finger, slightly arched to block the other strings. Be sure to experiment with the angle to get the right results. Next try holding notes on other strings, for instance A on the 7th fret of the D string, and figure a way to mute the surrounding strings while strumming. All this sounds more complicated than it is, but believe me you will find many uses for this technique. Remember in your pursuit of guitar skills to spend a fair amount of time with rhythm playing; it can often be the thing that will open up other doors for you.
28
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T a b l a t u r e and F i n g e r i n g s In this section, you will find several different styles of guitar-specific notation. Tablature is included as a guide to those who find it helpful, not as an alternative to learning to read on the guitar. In my estimation, guitar is die hardest instrument to read on, largely because of all the alternate note positions and fingering choices. Many choices are determined by the style and the tempo of the music, and it is often up to the player to find something that works. Surrounding the written music you will find numbers in circles as string references, ® being the high E. Fingers are numbered without circles, and Roman numerals indicate position, adding up to what most likely looks like too much information. In a one-on-one situation, I prefer to hand out music with few indications and discuss the possibilities. The indications in this section are basically how I am fingering and positioning things, something I still experiment with. These are meant as guidelines. Feel free to change some if you like; just make sure it will work. In many cases, there are choices that work as well and possibly better, but be sure the alternative is solid. This kind of research is an important part of development and will help your playing and reading. I suggest that when you play with the CD or a group, you use the lead sheets at the front of the book. They are much cleaner visually and more like a part you would be handed and asked to play.
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-0
KELLy
B e rk le e Press These books feature material used a t the fam ous Berklee College o f Music. T H E GUITAR, r a PH ASE I
G E N ER A L INSTRUCTION A M ODERN M ETHO D FOR GUITAR by William Leavitt
H
COUNTRY GUITAR STYLES
by William Leavitt
A practical and com prehen sive guitar m ethod in three volum es, designed for the serious student and used as the basic text for the Berklee College of Music guitar pro gram. With this unique approach, the student develops technique in both hands as he/she learns to read music, innovative solos, duets, and exercises progressively teach melody, harmony, and rhythm. For beginning through advanced levels of playing, this is the m ethod that has inspired trem endous loyalty among teachers and students. Demonstration audio is now available for the first two volumes, either sold separately or as a book/tape package.
V O LU M E I
STYLISTIC INSTRUCTION
®
A beginning level book presenting a comprehensive range of guitar and music fundamentals. Included are scales, melodic studies, chord and arpeggio studies, spe cial exercises for both hands, accompaniment tech niques, and a unique approach to voice leading using movable chord forms. 50449400 B o o k ........................................$12.95 50449404 Book/CD Pack ■ ............. $22.95 _50449402 Book/Cassette Pack.............$18.95 50449401 Cassette Only............................ $7.95
V O LU M E 2 Continues the study of melody, scales, arpeggios, and chords, covering the entire fingerboard. Written at the intermediate level, this volume addresses intervals, chord voicings, and improvisation, and includes special sections on rhythm guitar techniques. The cassette fea tures “play-along" duets; each duet part is recorded sep arately so that the student can play along. 50449410 B o o k ........................................$12.95 50449412 Book/Cassette Pack................ $18.95 50449411 Cassette Only............................ $7.95
V O LU M E 3 A continuation and expansion of topics presented in vol umes 1 and 2. Includes advanced techniques relating to scales, arpeggios, rhythm guitar, chord-scale relation ships, chord construction, and chord voicings. Also includes playing tips. 50449420 B o o k ......................... $12.95
An ideal m ethod for the beginning guitar student or guitar class. Technique and reading skills are developed through two-, three-, and four-part ensem ble arrange m ents of traditional and newly com posed music. An introduction to chords is also included. A cassette demonstrates the ideal perfor mance. 50449460 Book(B-29-l)........................... $7.95 50449462 Book/Cassette Pack............... $14,95
T H E GUITAR, PH ASE II by William Leavitt A continuation of Phase I, this phase includes solo, twopart, and three-part ensemble arrangements of traditional and newly composed music for the beginning to interme diate student or class. Skills are developed through delight ful arrangements of music by Bach, Foster, Leavitt, Schumann, and others. 50449470 (B-29-2)......................................$7.95
ADVANCED READING STUDIES FOR GUITAR by William Leavitt For the guitarist who wants to improve reading ability in posi tions 8 through 12,112 pages of progressive studies written especially for the guitar, in all keys, and consisting of scales, arpeggios, intervals, and notat ed chords in various time signatures. A special section of multi-position studies is included. An important method for all guitarists who want to learn the entire fingerboard. 50449500 (B-60).......................................$10.95
READING C O N T EM P O R A R Y R HYTH M S byM.T. Szymczak A collection of 52 harmonized melodies and 31 rhythm exercises designed to increase reading skills. Sixteenth note patterns are emphasized. Notated chords and rhythm guitar accompaniments provide excellent solos and duets. 50449530................................ $10.95
READING STUDIES FO R GUITAR by William Leavitt A comprehensive collection of studies for improving reading and technical ability. Includes scales, arpeggios, written-out chords, and a variety of rhythms and time signatures. Positions 1 through 7 are covered in all keys. An im portant m ethod for all guitarists who recognize the advantages of being able to sight-read. 50449490.................................................... $10.95
by Mike Lhde For the guitarist who wants to learn the secrets of playing “country.” Com plete with detailed explanations, illustra tions, notated examples, fulllength solos, and a dem onstration cassette tape. Styles and effects include country rhythm, single-note lead, pedal steel, bluegrass, finger-picking, western, rockabilly, Memphis style, har monics, string bending, electronic effects, and more. 50449480 Book/Cassette Pack $14.95
R O C K GUITAR STYLES by Mike lhde This popular hands-on book will teach the m odern guitar ist how to play lead and rhythm guitar. Styles include heavy metal, hard rock, new wave, blues, jazz-rock, funk, and more. Electronic equip m ent is also discussed. Five additional arrangements foi lead guitar, rhythm guitar, bass, and drum s are included Many music examples and a dem onstration cassette make this the player’s m ethod of choice. Includes a 33minute audio accompaniment. 50449520 Book/Cassette Pack $ 14.95
M ELODIC R H YTH M S FOR GUITAR by William Leavitt A thorough presentation of rhythms commonly found it contemporary music, including 68 harmonized melodie: and 42 rhythm exercises. This is also an excellent sourct for duets, sight-reading, and chord studies. The cassetti features dem onstration duets as well as recordet rhythm section accompaniments so that the student cat play melodies along with the tape. 50449450 Book......................................... $10.95 50449452 Book/Cassette Pack................ $16.95
C LA S S IC A L I STUDIES 1 FOR PICK-STYLE GUITAR by William Leavitt An outstanding collection o solos and duets for intermedia! to advanced pick-style guitarist“ Includes 21 pieces by Carcass: Carulli, Sor, Bach, Paganini, Kreutzer and Clementi. 50449440.......................................................$8.95
D U ETS GUITAR D U E TS -V O L U M E I by William Leavitt A collection of seven duets composed and arranged by William Leavitt. Chords and melody are skillfully blended, resulting in challenging and enjoyable music for interme diate and advanced guitarists. Guitar parts are separately bound. 50449430 (B-37-1)......................................$7.95
ELECTR IC BASS C H O R D STUDIES FOR ELECTRIC BASS byRichApplemanlJoseph Viola This 162-page m ethod thor oughly covers basic and exten ded chords in all keys. Melodic studies designed for the inter mediate and advanced player develop all aspects of tech nique. Special emphasis is placed on playing in the higher register. This m ethod can also be effectively used for acoustic bass study. 50449750.................................................... $12.95
reading contem porary electric boss rhythms
READING C O N T EM P O R A R Y ELEC TR IC BASS R HYTH M S by Rich Appleman
A comprehensive collection of exercises and performance studies designed to enable the student to play in a wide range of musical styles. Includes funk, rock, disco, jazz, top 40, soft rock, and country western. Excellent for sight-reading and technical development. _50449770.................................................... $10.95
SO NGW RITIN G MUSIC N OTATIO N by Mark McGrain A p ractical an d stra ig h t forward text for anyone who needs to notate music prop erly. It’s as useful to the first year theory student as it is to professional arrangers and composers. Helpful exercises, common practice rules, and simple language make this a valuable reference guide for all musicians. 50449399 207 Pages.................................$16.95
M AN AG IN G LYRIC STR U C TU R E by Pat Pattison This book will help songwrit ers handle lyric structures m ore effectively. If you have w ritten lyrics before, this book will help you gain even greater control and under standing of your craft. If you have not written lyrics before, this book will get you off in a healthy direction. You will find information in this book about lyric struc ture and exercises to help you make it part of your own writing. This book will show you ways to say things bet ter. It will help you manage timing and placement. That is the point of structure. By the time you finish, not only will you be a better writer, but you will know m ore about lyric structure than you ever thought possible. 50481582.................................................... $11.95
RHYMING TE C H N IQ U E S AND
■
STRATEGIES
by Pat Pattison
This book has been designed to help you find better rhymes and use them more effectively. If you have written lyrics before, maybe even professionally, and you want to take a new look or gain even greater control and understanding of your craft, this book could be just the thing for you. If you have never written lyrics before, this book will help. You won’t have a chance to develop bad habits. 50481583........ ,...........................................$10.95
Wo rks ho p
The songs Jim K elly has w ritten fo r this b o o k are designed to help you learn how to play in the style o f guitar greats like Kenny Burrell, M ike Stern, Pat Metheny, Joe Pass, Stevie Ray Vaughan, and others. W ith full-band and playalong tracks, you w ill learn how to phrase y o u r ow n solos in new ways by using the techniques o f m aster guitar players. Jim, a professor o f guitar at Berldee C o lleg e o f Music, presents these ideas clearly throughout the b o o k and audio C D . Y o u can hear in Jim’s solos how he captures the sound o f these players and use the play-along tracks to develop y o u r ow n approaches.
"O n e o f the best ways to improve your playing is to
study and emulate the techniques o f great players. Jim's new book does a great job o f demonstrating some o f these techniques in a way that will help any guitarist become a better player and improviser ” G a ry B u rto n
U.S. $14.95 ISBN
0-7135-1DA3-A
073999501179
Exclusively Distributed% By
H a l *L e o n a r d J i.
