of jobbing dates that mix the concert stuff with dance music, and the training is pretty well rounded. The lab band, electric guitar en- sembles and combos have scheduled performances in our small au- ditorium, but also in downtown Elmhurst at a venue that has a nice soundstage.
Panel Choices for Top University Jazz Guitar Programs
Northern Illinois University University of Southern California New York University New School (NYC) North Texas State
Berklee School of Music, Boston, MA University of the Arts, Philadelphia, PA Jazz Institute in Berkeley, CA University of Miami Bowling Green University Indiana University
William Patterson University, Wayne, NJ
What Equipment Do You Recommend A Jazz Guitar Major Own?
FP: Students need gear that allows them to do what needs to be done, whether it is straight ahead jazz, Latin, funk, classical or whatever. Many students show up with (Fender) Stratocasters, which are too transparent sounding for most jazz applications, and which don’t blend well with the other instrumental families. Another prob- lem is with arch top guitars in the $3000 and below range. Most of them are plywood tops, very quiet acoustically and in the case of the European ones, most of your money is eaten up by the exchange rate. And you cannot play anything but straight ahead jazz on them. A semi solid body such as a Gibson 335 is a good choice for all around playing. A 60 watt amplifier that weighs 30-40 pounds will work fine for school and most gigs. Tube amps breathe with the player, that is, they respond to different picking pressure in a musical way, but solid state amps that don’t overemphasize the midrange are probably better for arch top guitars. Get a good cart for the amp and a good leather gig bag for everyday use.
What Is The Expected Level Of Playing Ability For Those Auditioning?
BS: We are most interested to see that students have familiarity with the jazz idiom and some jazz repertoire. We tend not to admit students that play well but have little to no exposure to jazz. Gener- ally if a student can improvise idiomatically over a jazz standard and play a solo guitar arrangement of a jazz standard they would be con- sidered for admission. Due to the size of our program we cannot ac- cept all qualified applicants, and the level of our guitar players tends to be fairly high.
MARCH 2013
We do on occasion recommend students for admission as a Mu-
sic Studies major. Some students enroll as a Music Studies major and then switch into jazz studies later in their academic career. DF: The auditioning student should have a sound technique
and demonstrate some command of jazz chords, jazz phrasing, and improvising in a jazz context as well as knowledge of standard jazz repertoire.
Recommended Books for Jazz Guitar
The Complete Johnny Smith Method (Mel Bay) Approaching the Guitar by Gene Bertoncini (Kjos Music) Guitar Comping by Barry Gailbraith (Jamey Aebersold) Bossa Nova & Samba for Guitar by Mike Christiansen (Mel Bay)
A Practical Guide to Jazz Band Guitar by Dave Frackenpohl (Mel Bay)
The Advancing Guitarist by Mick Goodrick Jazz Guitar Voicings by Randy Vincent Three Note Voicings and Beyond by Randy Vincent Melodic Improvising for Guitar Developing Ideas Through Chord Changes by Bruce Saunders Single String Studies for Guitar by Bruce Arnold Swing & Big Band Guitar: Four-to-the-Bar Comping in the Style of Freddie Green by Charlton Johnson (Hal Leonard)
New York Guitar Method Vol.1 and 2 by Bruce Arnold Guitar Lore by Dennis Sandole (Theodore Presser) Everybody’s Jazz Guitar Method 1 by Mark Tonelli & Philip Groeber (FJH Music)
Jazz Guitar for Classical Cats Series by Andrew York (Alfred)
What Are The Jazz Guitar Audition Requirements? BS: A video of the applicant performing a solo transcription
along with the original recording; a video of the applicant perform- ing a solo guitar arrangement of a standard; and a couple of videos of the applicant playing and improvising on standard material, with a live rhythm section or a play along recording. MF: Basic/foundational guitar facility as outlined above as well as capacity to sight read basic compositions. FP: Audition requirements at both schools involve playing scales
and chords, some sight reading and a demonstration of improvisa- tional skill. Occasionally I’ll throw a seemingly gentle curveball by re- questing that the student play, for example, an A flat on all six strings in order from first string to sixth. The ability to do so, as well as the reaction, reaction time, even the ability to understand the request can be revealing on many levels. DF: These are from the GSU School of Music website: (music.
gsu.edu)- perform a chord/melody selection; perform and improvise on 3 jazz compositions in contrasting styles (latin, ballad, swing); all major scales in 2 octaves; perform a transcription of a jazz guitar solo; improvise over a blues in F or Bb; single line sight reading and chord change sight-reading (voicings).
29 TEMPO
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68