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Sarah Davachi has announced a reissue programme of out-of-print albums in limited edition vinyl or cassette formats. Downloads will also be available on request. Justin Broadrick and Kevin Martin are offering a sneak preview of the title track from the ir forthcoming Zonal album on Relapse Records.

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Wire contributor Josh Feola and artist Krish Raghav share Hang On The Box chapter from their work-in-progress illustrated history spanning 20 years of Chinese alternative culture. Shared via the independent media platform RADII , it tells the story of China's female punk pioneers Hang On The Box and the impact they made on a heavily male dominated rock scene when they formed in The sounds, settings, and particular instruments are cited in the accompanying performance notes. This three-note melody pattern typically approaches a selected tar- get tone by beginning on its upper neighbor, jumping to its lower neighbor, and then moving to the target.

See Lick A specific four-note pattern endemic to bebop and modern jazz styles. The all-important figure involves approaching a particular note first from a half step above and then from below always by two half steps in succession. This refers to an alternate scale or melody substituted for a primary relationship. The "call-and-response" procedure is an important aspect of applying licks to form a larger melody structure. Every lick is defined by an overall context; this can be a "basic scale" or "basic tonality.

In this case,a single basic scale would not be a sufficient label and could present an incomplete and erroneous picture. Melodies such as these are labeled as having a "basic tonality" though they are comprised of single notes as in Lick Many jazz licks have a plural harmonic application. For example, Lick 1 can be thought of as originating from either the AI, major scale or the AI, Mixolydian mode dominant seventh sound as it does not contain the crucial seventh in its melody. Similarly, Lick 5 has a plural application and could be used over an FmGor Bb9chord background.

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All licks marked with a swing feel Fast Swing, Moderate Swing, etc. This means that each twoeighth- note rhythm unit is to be played as a quarter-eighth grouping of an eighth-note triplet. After getting these licks under your fingers, try taking them apart by playing them in pieces, inside out and backwards. Each lick can be thought of as having several melodic or harmonic "cells" of varied sizes in its structure. Eachcell is akin to a thought or group of words in a sentence. These can be grafted to other cells from other licks to form new phrases. This processof developing original music from fragments is a viable strategy for building a new musical statements of your own.

Finally, once you have grasped the essentials of these licks, begin your own investigations. To this end, a list of suggested recordings is offered in the back pages of this volume. Pick your favorite jazz improvisations, and listen for these devices at work in the music of the great players. Be on the lookout for imitative procedures and sequential activity in melodies and riffs, question-andanswer phrases, harmonic extensions and alterations, unique turnarounds, and other thematic development strategies. This sort of listening and thinking opens the door to a deeper understanding and assimilation of the jazz language.

About the Author Wolf Marshall is the pre-eminent guitar educator-performer of our time. The founder and original editor-in-chief of GuitarOne magazine, he is a highly respected and prolific author and columnist who has been an influential force in music education since the early s. His eight-volume seriesThe Wolf Marshall Guitar Method and Power Studies established new standards for modern guitar pedagogy in the early s,as did his Guitar Jammin' authentic song books.

In Must-Know Jazz Licks, and its predecessor Must-Know Blues Licks, Wolf directs his encyclopedic knowledge of modern guitar music at a unique series designed to improve the vocabulary of all guitarists. The list of his credits is immense and can be found at his web site:.

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Swing and Pre-Bop This group comes from the swing era of the late sand early s. Jazz was at the height of its popularity in this period. Swing was a dance-oriented jazz style played predominately in ballrooms by big bands of fourteen or more musicians. The music's harmony centered around mildly dissonant chords like major and minor triads with added sixths, dominant sevenths, and dominant ninths.

These harmonies supported largely diatonic melodies set in riff-dominated jazz tunes, bar blues structures, and bar pop tunes.

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Swing's leading guitarist was Charlie Christian, who combined elements of earlier classicjazz traditions as well as blues licks from the southern states and horn licks borrowed from wind players like Lester Young and Roy Eldridge. The practice of emulating and adapting "horn licks" largely from saxophone and trumpet has been a mainstay of jazz guitar since Christian's time.

Christian's pioneering use of the newly-designed Gibson Electric-Spanish ES guitar established the role of the electric guitarist in jazz. Prior to his appearance, jazz guitarists were mainly confined to strumming in the rhythm section or forced to play in smaller all-string combos such as Django Reinhardt's Hot Club quintet. Christian's work with the Benny Goodman Sextet set the standard for early combos that included electric guitar.

Jazz, blues, and pop guitarists who followed in the swere under the spell of Charlie Christian and sought to emulate his sound and style. Sweepingly influential, Christian's licks were also heard in the subsequent wave of jump blues guitarists and early rock 'n' roll players.

Identifiers of the swing style include an eighth-note-dominated horn-like phrasing, extensive use of the sixth degree of the scale and chromatic passing tones, blues riffs, and a strong swing rhythm feel.

Wolf Marshall Guitar Method - Power Studies Two - Book/cassette Pack

This instrument is equipped with the early Gibson bar pickup dubbed the "Charlie Christian pickup" in the neck position. The volume and tone controls were both set at 8. The guitar was played through a vintage Gibson GA amp with one inch speaker. The tone of the amp was set for a warm and moderately clean sound with a hint of tube overdrive; in this case,treble and bassat the midway point and the volume at just below halfway.

This sound is generally the norm for early jazz guitar, circa ss. All'inizio di ogni titolo dopo la presentazione un Suggest Voicing con gli accordi da usare. Modelli dell'arpeggio di settima dominante. The Musicians Institute, home of the Guitar Institute of Technology, is proud to introduce a new and different concept in "play-along" recordings.