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A Few Words About Sight-Reading . . . . . . . . . . 3 The"Jazz"Feel

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purpose

section

About JazzRhythms. . . . . . . . . . . . . . . . . . . . . . 12

for himself

jazz-

is

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series

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blues

etudes

intended

to

f

d

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sectlon IS asenes 0 etu es m t he sty 1e 0 f L" lamous ."

jazz tunes, such asAII theThingsYouAre and Stella byStarlight.The final section is a seriesof duets;

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same are In t e sty e 0 popu ar jazz st and ard s and some are my own original compositions. I hope you enjoy the music. Many hooks on the

Guitarist/composer Adam Levy is a native of L A 1 h h tt d d th O. k G os nge es, w ere e a en e e IC rave . .. School of Muslc and studled wlth Ted Greene. He a name

provide

consists of jazz rhythm studies. The third

14

Bia

making

to

positionson the guitar.The secondsection

\Section 3: Etudes Basedon JazzStandards . . . 20 . Sectlon 4: Ouets . . . . . . . . . . . . . . . . . . . . . . . . .32

1990s

is

hle p you L"laml.1lanze .' . hd lierent yourse lf Wit ' fi1"

4

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hook

The music is presented in four sections.The first

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Sectlon2:RhythmStudles

this

mten e to e p aye WI a jazz or ".swIng"~ee.1

Using the CO .. . . . . . . . . ',' . . . . . . . . . . . . . . . . 3 Sectlon1:BluesE!udes

of

. d slg . ht-rea dmg . matena. 1L"" onente lor gultansts at an intermediate level. The exercises are written using common jazz-style phrases and are . d d b ld .th ". "

2

the early

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MuslcalSymbols

spent

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subject of reading a~efull of black dors, b~t don't have much to offer m the way of real mus IC. It . was my goal in writing this hook to provIde

d

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stu ents Wit challenging.

in

SanFrancisco,teachingat the Blue BèarSchoolof Music" and performing with same ofthe Bay Area's ..

muslc

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t

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.

at IS f un to p 1ay, as we 11 as

One final nare: our goal in sight-reading to be able to play a piece of music with little orisno

most mterestmggroups. Thls ultlmately led to . " tounng and performmg wlth Tracy Chapman,who featured Levy on her Grammy Award-winning song"Give Me One Reason." Respecte9asa teacherasweIl asa performer,Levy is a regular

. . k es, try p1aymg . at preparatlon. If you mak e mlsta a slower tempo, but do not stop in the middle to practice a difficuit passage.Finish playing the piece. Dur motto is "forward ever, backward " "

faculty member at the National Guitar Summer Workshopand bascontributed severalinstructional articlesto GuitarPlayerMagazine. He presently , I lives in New YackCi~' :~-,

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Coverphotos:jeff Oshiro

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Copyright @MCMXCVII by Alfred Publishing Co., Inc. All rights reserved. Printed in USA.

,

z Musical SymhDls used in Ibis hook. ;11 Go back to the beginning and play again.

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Firsttimeonly

Go back to the repeat sign and play again.

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Second timeonly

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112.

Play lst endmg first tIme, repeat to

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the beginning, then skip lst ending

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and play Znd ending.

D. C. al Fine

Go back to the beginning and end at Fine.

D. C. al Coda Go back to the beginning and play to the coda sign (-$r), then skip to the Coda to end the piece. (

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Dlher Musical SymhDlsYDUare likely ID see in music YDUwin play. D. S.al Fine

Go backto the sign(~) andend at Fine.

D. S.al Coda Gobackto the sign(~) andplayto thecodasign(-$r), then skip to the Coda to end the piece. i

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A Few Words About Sight-Reading

rou must not stop. This may mean playing at a slower

When

students

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ask

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aren't

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will

help

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me

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Like

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skill,

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be

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mUSlC

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and

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is

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rou

farther

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numbers

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have

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practiced

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allowing

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rou

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correspond

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e, try p aymg some 0f th e r yt m stu les m t IS b00k .

ofeach

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back

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the

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duets

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feel.

metronome clicking only the off-beats. In other

and look even farther

creatlve-read

triplet.

Many jazz players like to practice with their

thlrd

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like

eighth-note

lk "

two

more

en practlcmg rea mg, lt s lmportan t t 0 use a

IS

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metronome,

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take a piece of music and play every other measure

ahead.

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the

S

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must

ahead

in

"jazz"

third

gives

eight

rou

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Teen treet, ymn- 1 e an enny. ese s ou ep are as wntten, Wlth even . h h elg t notes or stralg telg t s.

Sometimes rou can use "games" to help keep your

the

and

music

a

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G

people-the audlence, the other mUSlClans,the conductor-while rou are playing.

(play

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developin orderto maximizeyour readingability. It

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close your eyes and play what rou can remember. more

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skilis,

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Here is a common variation on the above rhythm:

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Remember, the point of studying these examples is to familiarize yourselfwith the most common jazz rhythms. Just aswhen leaming to read the English languagein school, you fiTsthad to leam the sound of each letter of the alphabet, then you leamed simple words, like "cat" and "go."

won't have to sound out each and every rhythm ("one, two-AND, three...") and will be able to read complex rhythmic phraseswith ease.

Eventually you progressedto harder words, then sentences,paragraphs,etc. Now you don't have to sound out each word. You can look at a sentence and graspits meaning as a whole. OUTgoal in sightreading is much the same.If you can look at a piece of music and recognize familiar pattems, you

using two eighth notes starting on each possible beat. Repeat each measureas many times asyou like, then move on to the next measure.When you are comfortable with all of the rhythms, try playing the measuresin reverseorder or skipping around froll1 measureto measure.

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