New York Guitar Method Ensemble: Bk. 2

The companion book to Volume Two, "New York Guitar Method Ensemble Book Two" concentrates on jazz melodies and chords. The application of approach note theory is explored through various exercises to ingrain the many possibilities of this melodic concept. Four note chord voicings for the upper four strings of the guitar are thoroughly investigated through various comping styles. The following Rhythm studies are also covered:Eighth Note; Sixteenth Note; and, Odd Meters. The following Classical Etudes are covered: Excerpts from Bach's "Two Part Invention"; Excerpts from Bach's "Three Part Invention", plus more excerpts from Bach and Mozart. 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 as well as written solos and Bebop duets.Many of these exercises allow students to play and accompany each other in an ensemble situation. 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 and give you examples of the concepts discussed in "New York Guitar Method Volume Two." Each chapter is broken down into several sections to help isolate the many challenging areas of this topic. This book continues with some of the same exercises found in Volume One but also introduces reading in odd meters and of course reading approach note oriented melodies. You should try to read through one chapter a week. Keep in mind that many of the exercises found in this book are often about improving your ability in multiple areas; therefore they are extremely difficult. If you persevere you will find that your ability to read and your knowledge of the guitar will be greatly enhanced.Make sure to read the directions for the exercises found in this book so you understand the tempos you should start with and the goals for which you should strive. Directions can be found on page 13 and 17. The first and perhaps most important aspect of sight reading is reading rhythm. 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 13.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 months 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. The exercises develop your ability to read multiple note chords and to understand voice leading. The next section in each chapter consists of the chord changes for the approach note solo.These chord changes also incorporate the chord voicings learned in "New York Guitar Method Volume Two." The approach note solos will challenge your ability to read highly chromatic melodies and will increase your rhythmic and melodic vocabulary in the jazz idiom. 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 reading chops together along with being great material for part reading in a guitar ensemble. Keep in mind that most students could use the practice to read through this book mulitple times in order to improve their skills. Most dedicated college music students gain the ability to read the exercises in this book at suggested tempos over a four year course of study. Work hard but be patient.

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Guitarist Bruce Arnold has developed an extensive reputation as a composereducator and guitar virtuoso. He has created a unique signature sound that stemsfrom his combination of jazz techniques and 20th Century compositional methods.He has played with such diverse musicians as Stuart Hamm, Peter Erskine, JoePass, Joe Lovano, Randy Brecker, Stanley Clarke, the Boston Symphony Orchestra.Mr. Arnold is also deeply devoted to music education and had written more than50 music instruction. He heads the guitar departments at NYU and PrincetonUniversity and is the director of the New York University Summer Guitar IntensiveHe has taught at some of the most prestigious music schools in America, includingthe New England Conservatory of Music, Dartmouth College, Berklee College ofMusic, New School University, and City College of New York.