Jazz Guitar For Classical Cats

World-famous guitarist and composer Andrew York has created the Classical Cats series to be the classical guitarist's ultimate guide to jazz. This book includes introductory lessons on chord voicings, voice leading, and arranging for solo guitar. Original compositions by Andrew York are featured.

World-famous guitarist and composer Andrew York has created the Classical Cats series to be the classical guitarist's ultimate guide to jazz. For many musicians, the thought of improvising can be intimidating. In this exciting conclusion to the Jazz Guitar for Classical Cats trilogy, Andrew York shows you that improvisation is a skill that can be learned and practiced just like any other. It's simply a matter of knowing where you're going (targeting chord tones) and how you're going to get there (scales and modes). By practicing the ear training and visualization exercises in this book, you will learn how to turn the music you hear in your mind's ear" into imaginative, great-sounding jazz solos. A recording demonstrating the examples in the book is included."

World-famous guitarist and composer Andrew York has created the Classical Cats" series to be the classical guitarist's ultimate guide to jazz. This book includes introductory lessons on chord voicings, voice leading, and arranging for solo guitar."

World-famous guitarist and composer Andrew York has created the "Classical Cats" series to be the classical guitarist's ultimate guide to jazz. This book includes introductory lessons on harmony. The CD includes exercises and examples performed by the aut

World-famous guitarist and composer Andrew York has created the "Classical Cats" series to be the classical guitarist's ultimate guide to jazz. This book includes introductory lessons on harmony. The CD includes exercises and examples performed by the aut

Guitarist and composer Andrew York presents the ultimate guide to jazz for classical guitarists. The first two sections of this three-part book cover jazz harmony and chord/melody, focusing on comping, chord voicings, voice leading, and arranging for solo guitar. Part three looks at improvisation, which may be the most exciting---yet foreign---aspect of jazz for classical guitarists. York shows you that improvisation is a skill that can be learned and practiced just like any other. By practicing the ear training and visualization exercises in this book, you will learn how to turn the music you hear in your mind's ear into imaginative, great-sounding jazz solos. The CD contains the exercises and examples performed by the author.

This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique andthe exhaustive tables of melodic and rhythmic possibilities.It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation.Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing twosimultaneous tempos. The book concludes with a study of polyrhythm, playingone rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to beinclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else?s. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma,method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.

The most highly-acclaimed jazz theory book ever published! Over 500 pages of comprehensive, but easy to understand text covering every aspect of how jazz is constructed---chord construction, II-V-I progressions, scale theory, chord/scale relationships, the blues, reharmonization, and much more. A required text in universities world-wide, translated into five languages, endorsed by Jamey Aebersold, James Moody, Dave Liebman, etc.