However, FaChords Guitar continues growing, and server bills are expensive. Still, I want to keep the website free for everybody , so here you'll find many free guitar pdfs as well as a couple of pay ebooks. Please consider buying them they're awesome :- to help me keep sharing the guitar knowledge. In this 80 pages ebook you'll find about chord voicings all along the fretboard that will help you learn how to move freely on the neck and play any chord you want in any position. The book is packed-full with color-coded diagrams that show chord tones , note names, and finger positions, a handy visual chord formula table , and the tones fretboard maps of 44 different chord types.
Do you know some chords, maybe many, but you're not sure how to play them together? This ebook will show you 52 chord progressions , that are the foundation of many genres and styles of Western Music.
Etude Diminished Scale Organized in 7ths. Etude Rhythmic Displacement of Bebop Melody. Etude Augmented Scale Organized In 4ths. Etude Diminished Scale Polymeter Study. Etude 4ths and 5ths With Chromatic Passing Tones. Bill, I just came upon your various websites and am finding them extremely interesting and useful.
Liz, What a great surprise to hear from you! The last time I spoke with you, you were playing lots of Brazilian music as well as jazz.
Great stuff here Bill. Do you have a book with all of this stuff included?? I cannot wait to plunge into it.
Thank you. Video lessons and articles are an essential part of using my method. Follow the lessons in the order below. Also see the list of additional tips and lessons at the bottom. You can start the technique routines and chords anytime. If you enjoyed the book you can support the site here. Visit the Lessons Page for more videos that compliment this book. I have a dedicated beginner lesson page as well. Translate PDF. Morey II, B.
Doctor of Musical Arts Performance , May , 43 pp. Polymeter has been a relatively unexplored compositional technique of music of the Common Practice Period. Currently, his treatise remains the best source for learning polymetric improvisation on the guitar.
My personal contribution stems from the idea that multiple interpretations of thought processes and technical approaches are possible when learning to play polymeters on the guitar. The second part reveals through analysis of the Concert Studies 1, 2, and 5 both his innovative improvisatory use of polymeter as a stylistic device, and his ties to traditional ideas of structure.
Copyright by Michael J. It offers the most thorough pedagogical method for teaching the performance and improvisation of polymeters on the guitar. Fully aware that he could have exhausted the topic with hundreds of examples and their variations, he instead approached his treatise from a different standpoint, using only 25 exercises in the first section and 5 concert studies in the second, thus creating room for students to build their own styles of polymetric improvisation. His attitude toward improvisation and world music has been well documented throughout his career through his method of notation in many compositions, his two books on improvisation, his recordings, and his teaching.
The first part of the treatise currently remains the best source for learning polymetric improvisation on the guitar, and the second contains five excellent concert pieces. Each instrument presents its own idioms that must be addressed in a pedagogical system so the student can learn new concepts within the contexts of common fingerings and patterns that pertain specifically to the instrument.
Since the bulk of the classical guitar repertory stems from a Western musical system, trying to integrate rhythmic possibilities that come from a non- Western tradition can be a daunting task for any student of the classical guitar.
Understanding the exercises in part I then illuminates the improvisatory nature of the selected polymetric concert studies. The revised examples reveal that improvisation can be practiced within the specific context of polymeters rather than those of melody and harmony.
Polymetric fluency can then generate new melodic possibilities in the act of improvisation. Furthermore, a database search reveals that no written analysis of or commentary has been done on the treatise. Some exercises contain multi-layered cyclic structures that require a high level of mental and technical control from the player. Furthermore, many of them are presented along with their inversions, which build independence in the fingers while they also train the improviser to hear multiple lines.
The second part of the treatise contains five studies that employ a wide variety of metric divisions; these have been accepted as concert pieces in the guitar repertory.
This concept is explored in depth by presenting new exercises for the mind and fingers to achieve fluency in polymetric improvisation. It is important to note that an advanced player should be able to play the exercises by memory, but that achieving an internal understanding and mastery of independence of meter in improvisation can take years of practice.
Some definitions have proven to be more general, depending on the type of music under discussion as well as the background of the historian or theorist who has provided the definition. It is mainly the general rhythmic profile that defines the meter.
Accents only outline the figures and are used either to emphasize the meter or to conflict with it. Table 2. When listening to a polyphonic composition, our Western ears generally associate the beat or pulse with the bass voice and the treble voice with a melody, a dichotomy that may have become embedded in our minds because of functional harmony, which developed from the new emphasis on the bass line ca.
Even though the bass voice can have a melodic function, Western ears usually hear it functioning as the rhythmic foundation to add a sense of drive and pulse to a piece. On the guitar, it is a general rule that the bass strings E,A,D are performed using the thumb. This creates a technical consistency that allows the player instinctively to choose the thumb to play the bass strings in most passage work that implements arpeggios, accompaniment, or a melody in the low register.
Naturally, the thumb also has a heavier attack than the fingers, which allows the notes in the bass to be performed with a fuller sound. This consistency of right hand fingering on the bass strings eliminates the problem of choice, and thus avoids right-left-hand coordination problems when improvising.
If players program the thumb to be used for the bass strings in these exercises, they develop an automatic instinct that serves as a foundation for working out the synchronization patterns of the thumb and fingers. When 9 Ibid. If the student has been immersed primarily in rhythms of the common practice period, beginning with practice on an asymmetrical meter may be too difficult.
For example, if pattern a in the thumb lies in an asymmetrical meter, the student may have an easier time beginning with the treble voice, and vice versa, if the symmetrical meter lies in the thumb, the student should begin by practicing the bass voice first.
In exercise 1, he notes, the upper voice is the constant, while Exercise 2 uses a constant middle voice, and Exercise 3 uses a constant bass 10 Ibid.
These three exercises also aid the player in hearing the multilinear levels that are created with 2- and 3-part counterpoint. Due to the lack of sustaining power on a guitar, a faster tempo helps the player to hear more easily the conflicting meter against the constant meter. One of the first preliminary exercises the player can implement to gain a fuller awareness of a polymeter is to clap the basic metric pulse, while singing the second metric pattern as an unpitched percussive syllable.
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