howard roberts the howard roberts guitar book

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  • 1. nf,utTheHowardRobefts' Guitar Book By Howard Roberts &James StewartCopyright @1 9 7 i , b y P l a y b a c M u s i c u b l i s l i i nC o m p a n yP . o . B o x 4 2 7 8 ,N o r t h H o l l y w o o dC a l i f o r n i a 1 6 0 7 k P g , 9 All RightsReserved Printedand Published U. S. A. International in CopyrightSecured;-

2. FOREWORD Collaborationis a delicateart;few egosare small enough to allow for a compatible, creativerelationship. Howard Roberts a n d J i m S t e w a r t- - w o r k i n g a n d t h i n k i n g a s c l o s e l ya s R i m s k y and Korsakov- - have brought collaborationto a new sophistication. At the sametime they have raisedthe stature of the guitar to its proper level of respect. this by meansof a simple, direct techThey accomplished nique that took full advantage their 1S-yearrelationshipin of d and out of the studios: Howardand Jim discussethe format t o f t h e b o o k , f l i p p e d o n a t a p e r e c o r d e r , h e n a l l o w e ds t r e a mo f to consciousness outline the five major topics - - picking, cdmping, improvising,fingerboardtechniqueand chord solo playing. To illustrate each of those functions, Howard provided f e v e r y n o t e o f m u s i cp l u s t h e a c c o m p a n y i n gi n g e r i n g .A l l t h e o s l u r s ,a l l t h e a c c e n t s - a l l t h e n u a r l c e s f n o t a t i o n- - r e U e c t H o w a r d ' sg u i t a r t i s t r y . I n i t s f u l l e s tm e a s u r et,h i s i s T h e H o w a r d m R o b e r t sG u i t a r B o o k . W h a t J i m S t e w a r th a sd o n e i n v o l v e s o r e H t h a n j u s t a d d i n gw o r d s t o m u s i c . H e a n a l y z e d o w a r d ' st e c h n i q u e a n d i n t e r p r e t e d i s t h o u g h t sa b o u t t l t e i n s t r u n t e n t .A l l t h e h g o f t h e t e x t r e t l e c tS t e w a r t ' s i f t f o r u n d e r s t a n d i n g subtleties "artistic a l t e re g o " i s a t h e m a n b e h i n dt h e m u s i c . T l i i s r o l e o f f a m i l i a ro n e t o J i m : h e p r o d u c e ds i m i l a rr e s u l t si n T h c _ W e s M o n t g o m e r yJ a z zG u i t a r M e t l i o d f o r R o b b i n s . o T o c a p t u r et h e e s s e n c e f H o w a r d R o b e r t si s t o r e - c r e a t e t h e v i r t u a lh i s t o r yo f t h e g u i t a r . S t y l i s t i c a l l a n d a e s t h c t i c a l l y . y l H o w a r d ' s n o w l e d g e n d t e c h n i q u e n c o m p a stst e en t i r c p l e c k a e o e t r u m p a n t h e o n l f r o m t h e e a r l ya c o u s t i c x p l o r a t i o n s t ' E t l d i e o L a n g ; t h e u n o r t h o d o x f i n g e r i n g f D j a n g oR e i n h u r d t :t h e r m p l i t s st f i e d g e n i u so f C h a r l i eC h r i s t i a n , h e c o m p i r r g t e a c l i r t c o ; ' J ' sf F r e d d i e r e e n ; t h ei n v e n t i v e n e o s J i r n r n yR a n c ya n c l r l G V F a r l o w ; t o t h a t l i n e a r - c h o r d g il a n to f t o d a y ,G e o r g e a n E p s . a F r o m 2 0 y e a r s f e x a c t i n g t u d i oa s s i g n m c n tp l.u s t h e d u e s o s s , p a y i n ga p p r e n t i c e s h i t h a t p r e c e d e da n d t h e c l u b a n d c o l t c e r t p g i g st h a t h a v ec o n t i n u e d ,H o w a r d R o b e r t sh a sr e c k o n e dw i t h t t e v e r y c o n c e i v a b l ey p e o f g u i t a r a n d n r e t e v e r yp o s s i b l e y p e o f I a m u s i c a lc h a l l e n g e . f h e s y m b o l i z e s l l t h a t i s p a s t i n t h e e v o l u n t i o n o f t h e g u i t a r ,h e i s t h e l o g i c a ls p o k e s r n a f o r t h e e x p l o s i v e g u i t a r w i l l a s s u m en t h e f u t u r e . i r o l e st h e "The guitaris the cuttingedge. A s H o w a r d l i k e st o s a y , o V a r i o u si n s t r u m e n t s a v ee n j o y e dt h e i r d a y a s t h e v a n g u a r d f h n e w s o u n d s .N o w i t ' s t h e g u i t a r ,a n d o t h e r sa r e f o l l o w i n gs u i t " e l e c t l o n i c a l l y . " L i t t l e w o n d e r H o w a r d ' sm u s i c a le x a m p l e s g o s b e y o n d t h e p a g e . " E a c h i s a c o m p a c t ,h i g h l y c o n c e n t r a t e d t u d y . T h e r e a r e n o w a s t e dn o t e s ;n o w a s t e dw o r d s . T h e a d v a n c e d t u s d e n t w i l l s o o n r e a l i z et h a t H o w a r d R o b e r t sh a ss u c c e s s f u l lc o n y veyed what he has digestedand coaxed it through the fingerboard. The beginnerstandsto benefit more from one example than from any ten exercises a simple rote method. in There's a wealth of material condensedin these pages - the - - complimentsof the Roberts-Stewart entire plectrum spectrum "fret-ernity." Now it's up to you to take your pick. Harvey Siders West CoastEditor down beat masazine 3. TABLE OF CONTENTSSECTION IThe Fingerboard Five Distinct FingeringPatterns Slidins on Half-Sleps The I-Eft Hand and'rheFinqerboard Fingerboard/ ft -Hand preisure Le TechnicalExercise Etude The GraceNote The Gliss The Hammer-On(One String) The Hammer-On(AdjacentString)SECTION IISECTION IIIPicking Warm-upExercise Exercise Development Up-pick Strokes for of Exercise Development Short Strokes for of Back-Pickine Advanced PickinsExercrses Cadenza Improvising WholeTone ScaleLick Run in Fourths Run Built Over a Dominant Seventh Chord Lick and Run Over a Dominant SeventhChord WholeTone/Diminished ScaleRuns Minor SecondIntervalLick Updatingan Old MusicalLick Eastern/Semite Sounds TraditionalOld Blues Lightening(JazzStylb of phrasing) B e b o pJ a z zS t v l eB l u e s Contemporarv Blues Expiorations the Bi-TonalityConceptof Improvisations in4 + 5 6 7 8 9 10 11 1 -l zI2 1"4 15 76 1 118 1,9 20 22 22 23 ZJ23 24 24 . AL+25 26 27 2B 30 JZSECTIONIVComping Exercise Creating in Ghost Notes Catalog IdiornatlcCompingColors of33 33 35SECTION VChord Solo Playine The Guitar asa'Mi"niature Orchestral Acc

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