Berklee Basic Guitar - Phase 1: Guitar Techniqu...
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A modern method ideal for all beginning guitarists, studying individually or in a class. Technique and reading skills are developed through two-, three- and four-part ensemble arrangements of traditional and newly composed music. Also includes an introduction to chord playing.Also available: Phase 2 Book 50449470 $7.95
Organize the guitar fretboard, develop your technique, and learn to confidently navigate the instrument by gaining a firm understanding of the pentatonic, blues, major, melodic minor, and harmonic minor scales and their modes.
Develop the skills to become a professional guitar player. Through private lessons with Berklee's renowned faculty and a rigorous program of study that spans contemporary music styles, you will develop your unique sound, improve your technique, increase your musicianship, and harness technology to create professional-sounding recordings.
Features advanced playing tips and techniques relating to scales, arpeggios, rhythm guitar, chord/scale relationship, chord construction (with special attention to the melodization of three note stuctures), and chord voicings.
A comprehensive approach to developing practical sight-reading skills for guitar. This collection of highly effective studies will greatly improve reading and technical ability, covering positions 1 through 7 in all keys. Also includes scales, arpeggios, written-out chords, and a variety of rhythms and time signatures.
Featuring over twenty compositions, this material is designed to acquaint intermediate to advanced pick-style guitarists with some of the excellent classical music that is adaptable to pick-style guitar. Features an outstanding collection of solos and duets, including pieces by Carcassi, Carulli, Sor, Bach, Paganini, Kreutzer, and Clementi.
Leavitt's books contain no guitar tablature and consist only of standard notation and chord symbols with occasionally written-in fingering numbers, string numbers, and position numerals. They range in level from the beginning reader to the professional.
Emphasis is placed on using a guitar pick, rather than a fingerstyle approach. At the time, although many players were using picks, very few college-level educational materials existed that were specifically designed with the pick-style in mind.
I remember learning to play by reading music from the start of my first formal guitar lesson with my first guitar teacher, Adee Arifin all the way back in 1996. At that time we used a book called A Tune a Day for Classical Guitar by C. Paul Herfurth and Stanley George Unwin. I still have fond memories of studying using that book and believe it worked out well for me.
Point is, it was only until much later that I encountered this book by William Leavitt. At that point, I was studying for my Masters in Music at San Jose State University. My instructor, Rick Vandivier used this book for the group guitar class that was offered at the university for non guitar principals.
You learn to play single notes at first and then start to play three note voicings. Acknowledging that some guitarists may be impatient with just single note playing, he also includes some common chords shapes at the end of the book for those who want to play more rhythm guitar to accompany vocals or lead. However, this is not the main focus of the book.
In conclusion, even after all these years, the book is still a useful one to use for teaching. If you want to rock out immediately, do not buy this book. If you want to strum and sing, other folk or methods might be better for you. But, for those who want a traditional strong foundation on the guitar & enjoy a step by step method, you might benefit from this book.
Pros: A musical method to learn basic guitar playing skills especially single note melody playing in open position, Cons: Pieces included might be boring for some people. TLDR: A good beginner guitar method based on learning to sight read and understand the open position.
Berklee guitar students such as John Abercrombie, Bruce Cockburn, Al DiMeola,Kevin Eubanks, Bill Frisell, Emily Remler, John Scofield, Steve Vai, and Mark Whitfield would probably all be familiar with the books.
In the early 1980s, Austrian guitarist Wolfgang Muthspiel moved to Boston with something of a split musical identity. He went to the New England Conservatory and divided his time between jazz studies with legendary guitar instructor Mick Goodrick and classical lessons with noted composer, player, and teacher David Leisner. With Goodrick, Muthspiel flatpicked electric guitar and focused on jazz theory and improvisation, while with Leisner he embraced traditional classical technique and repertoire.
Although Muthspiel planted his flag firmly in the jazz camp, he never abandoned the nylon-string classical guitar. His live performances and recordings still feature him alternating between electric and acoustic, and he maintains a sense of purity to each approach. He plays acoustic guitar seated, sans amp or effects, his manicured nails hovering above the soundhole, while for electric-guitar pieces he stands, using either a flatpick or a hybrid picking technique, and runs his signal through a battery of pedals, loopers, and usually a Vox AC30.
We spoke with Muthspiel just as it was becoming clear that his spring tour of the U.S. was about to be canceled. We discussed his apprenticeship under Burton and Goodrick, the distinct phases of his recording career, his never-ending fascination with loopers and delays, the intricacies of right- and left-hand technique, his long-term relationships with luthiers Nico Moffa and Jim Redgate, and why he still keeps his approaches to the electric and acoustic guitar separate.
Did you start as a classical player?I started playing violin when I was 6, and I started playing guitar when I was 12. My whole first years, until I was about 14 or 15, were spent with classical music. Then I discovered jazz, got into it, and started playing electric guitar. I listened to Ralph Towner and people like that who made a bridge to the improvised world, and I went that way. I kept both things up, classical and jazz, until I was 22. I went to the States and studied in Boston with Mick Goodrick, who was at the New England Conservatory and teaching jazz, and David Leisner, who was teaching classical guitar. I went to Berklee two years later, because I had decided to go for jazz all the way, and then I met Gary Burton and so on. But the jazz and classical thing was parallel for a while.
Your studies with David Leisner were straight classical?Totally. I was playing concerts with classical guitar and doing competitions and all that stuff. It's a small repertoire of really great music. There is a lot of great music you can play on the guitar, but strictly classical written music, some of the top guys have not written for the instrument. You have that wonderful lute stuff that Bach wrote, and all the great Renaissance lute music that you can play on guitar, and then some really cool modern music, but it is not such a big pool of music as compared to violin or piano. That also contributed to my decision to go all the way into jazz. 781b155fdc