Lessons of jazz music. Acoustic guitar.
Alexander Vinitsky – guitarist, composer
Employment are spent on a classical or acoustic guitar. To play by fingers.
Themes of employment:
- Arrangement
- Jazz harmony and chords technics
- Technics a “walking bass”
- Accompaniment in different styles:bossa nova, swing, straide, new age, samba
- Rhythmics and coordination of fingers of the right hand.
- Improvisation bases
In lessons following works are used:
Hovard Morgen(USA) – “Concepts”
Nelson Faria(Brazil) – “Brazilian guitar book”
Joe Pass – Melodic improvisation
Alexander Vinitsky – Jazz etudes and exercises, On a way to a jazz, (6 jazz etudes), Blueses and jazz preludes, A blues in chords sequences, A children’s jazz album # 1 and 2, Jazz suite “Merry Go Round”, BOSSA NOVA (5 concert compositions on the basis of A.C. Jobim’s themes), Concert compositions on the basis of jazz themes: J. Zavinul, Mercy! Mercy! Mercy!,G. Gershwin “Lady, be good!”, R.Rodgers Blue Moon” and Jazz-waltz “Over and Over, Again” and many etc. Also in employment Alexander Vinitsky such compositions as are used: Travel in Time, I waiting for you tonight in small café, Green Soft Light, I wait for news, Samba #5, “Jazz Aria”, and other plays.
All studied material and the lesson maintenance are focused on level of preparation of the pupil and are under construction individually. A circle of questions and style of studied music, the pupil chooses, preliminary having stipulated it by phone with Alexander Vinitskim. The pupil can buy any musical materials specified above Alexander Vinitsky author’s works
At a lesson record on the video-chamber is possible.
Preliminary conditions:
You choose a theme and questions. Inform them by e-mail avinitsky1@mail.ru or on mob. t. +7 916 630 69 03 also stipulate with Alexander Vinitskim quantity of lessons, their duration and cost. And also time.
Author’s seminar “Classical Guitar in Jazz”, summer school, master class.
1. Classical guitar and jazz music. Essential principles of jazz harmony.
Jazz cadences, modulations and sequences. Play by alphabetic symbols. Essential principles of arrangement. Accompaniment in styles Bossa Nova, Blues, Swing, Straid. Chords’ replacements and harmony enrichment. Play of chord sequences with a “walking” bass.
2. Features of a jazz rhythm.
Development of sense of rhythm on the basis of special exercises. Work with a metronome. Projection of rhythmic structure of the play. Structure and organization of passage. Rhythmic interrelation of parties. The right hand – development of opportunities of play as an ensemble does. Play of jazz cadences and sequences.
3. Blues.
Birth and development of blues. Blues form. Blues harmony. Minor and major blues. Blues scale. Pieces in blues form and the analysis of arrangements. The teacher and the pupil – playing in a duet (the accompanist and the improvisator are exchanging their positions). Use of blues scale in improvisation. Play of blues modules.
4. Bossa nova.
Brazilian musical culture. The African sources of rhythm. The rhythmic wave – a basis of play in the bossa nova style. The right hand can play as ensemble of three instruments. Accompaniment in bossa nova style. Harmony features of Brazilian bossa nova. Arrangement of melodies (as examples A.Vinitsky’s arrangements of A.C.Jobim, L.Bonfa, G.Gilberto’s known melodies are used, and also his compositions in bossa nova style and samba).