New York Guitar Method Ensemble: Bk. 1

The companion book to Volume One, "New York Guitar Method Ensemble Book One" contains multiple exercises to apply scales to guitar. Other exercises include reading on one string to develop fretboard knowledge and recognition of notes on a staff. Arrangements for four guitars using the jazz standard "Rhythm Changes" are provided for ensemble practice. Chord progressions and written solos are also included. These exercises allow students to play and accompany each other.Solos and Chord Vamps for the following scales are covered: Ionian; Dorian; Phrygian; Lydian; Mixolydian; Aeolian; Locrian; Jazz; MinorDorianb2; Lydian#5; Lydianb7; Mixolydianb6; Locrian Natural 2; Altered Diminished; Symmetrical Diminished; Whole Tone; Harmonic Minor; Mixolydianb2b6; Major Pentatonic; Minor Pentatonic; and, Blues. Scale application to many common chord progressions are included: Major 2 5 1; Minor 2 5 1; and, Turnaround I VI II V. Along with Jazz Solos the following Classical Etudes are covered: Excerpts from Corelli's "Trio Sonatas"; Excerpts from Bach's "Two Part Invention" and "Trio Sonatas", plus excerpts from Beethoven and Haydn.The New York Guitar Method is used at New York University and is a prerequisite for entering New York University's Summer Guitar Intensive Program. The purpose of this book is to improve your sight reading skills. Each chapter is broken down into several sections to help isolate the many challenging areas of this topic. This is the first and perhaps most important aspect of sight reading is reading rhythm. Chapter 25 includes a complete description for understanding rhythmic notation. Each chapter contains three rhythm exercises. The goal for these exercises is to familiarize your eye with the many different combinations of rhythm you will encounter. You want to be able to read those rhythms as quickly and accurately as possible. Directions for these exercises which include goal tempos can be found on page 15.The next exercises are single string studies. The goal of these exercises is to get you reading on one string the entire length of the neck without having to look down to see where your hand is. It usually takes a student at least six month to become comfortable reading these exercises but the reward is invaluable: you will know where every note occurs on the entire length of each string and you will never again have to look at your hands to find a note on the fretboard. The rhythm changes exercises in this book serve a dual purpose. Reading these lines at extremely fast tempos will get your eye accustomed to the kind of reading you might encounter in up tempo Big Band charts. These exercises are also great material for part reading in a guitar ensemble.The next section in each chapter consists of a modal vamp and a solo to go along with the vamp. The vamps which take a short modal progression through twelve keys are a great resource for working on commonly used comping rhythms and voicings. The solos will challenge your ability to read single note melodies and will increase your rhythmic and melodic vocabulary in the jazz idiom. Included at the end of each solo is a description of the improvisational techniques used throughout the example. You should read these descriptions and then review the solo, as they can open the door to understanding how great improvisers use techniques like modal sequencing and approach notes. The final section in each chapter is the classical reading section. This section, like the rhythm changes exercises, also serves a dual purpose. These exercises are excellent for getting your classical reading chops together along with being great material for part reading in a guitar ensemble.

About the Author :
Bruce Arnold (born 1955 in Sioux Falls, South Dakota, USA) is an author, composer, educator and guitarist residing in New York City. His explorations into the applications of 20th century classical theory in contemporary forms such as Rock and Jazz has created a unique compositional and improvisational sound. As a guest artist Arnold has toured Australia, Canada, the Caribbean, Europe, Japan, Mexico, Russia and the United States.His performance and recording activities include work with a wide array of styles. He has played with such diverse musicians as Stuart Hamm, Peter Erskine, Joe Pass, Joe Lovano, Lennie Pickett, Randy Brecker, Stanley Clarke, the Boston Symphony Orchestra and the Absolute Ensemble under the baton of Kristjan Jarvi.Bruce Arnold's recording credits include over twenty five CDs and DVDs (on Muse-eek Records, MelBay Recordings, Truefire and other labels), ranging from the standard jazz repertoire to free improvisation to the reinterpretations of classical music with the ensemble Spooky Actions. His compositions are published by Muse Eek Publishing, and MelBay Productions.Mr. Arnold's theoretical works have explored the use of Pitch Class Set Theory within a improvisational setting. He is also written more than 60 music instruction books covering Guitar Pedagogy, Ear Training and Time Studies. He is the director of guitar studies at New York University and Princeton University as well as the creator of the New York University Summer Guitar Intensive He has taught at New England Conservatory of Music, Dartmouth College, Berklee College of Music, New School University, and City College of New York.