Have you ever wondered how guitarists like Joe Pass, Jim Hall and Wes Montgomery find such full, luscious voicings for their chord melody playing? Well, much of that sound is based on the "Drop 2" principle of chord voicings. In this book, veteran guitarist Randy Vincent explains exactly how you can get that same sound too. Endorsed by Julian Lage, John Stowell, Larry Koonse, etc.

Randy Vincent's second Sher Music Co. book covers every aspect of the crucial three-note voicings every guitarist needs to know. It has received glowing endorsements from Pat Metheny, Jim Hall, Mike Stern, Ben Monder, Vic Juris, Gene Bertoncinni, Julian Lage, etc. Three-Note Voicings and Beyond is for everyone from intermediate newcomers to jazz guitar to very advanced players. The book develops a unique dynamic concept of harmony where three independently moving lines team up to create beautiful harmonies that are valuable for comping, chord melodies and chordal jazz improvisations. Topics include: Three-note shell voicings and special derived comp voicings Compete triad review including all close and open inversions on all strings A section on developing walking guitar voicings, harmonized bass lines perfect for accompaniments in situations where no bass or keyboard is present Sections on triad applications such as slash chords, upper structures, hexatonic triad-pairs and special hybrid voicings Quartal and secundal voicings perfect for modal comping and soloing Drop-2 reductions perfect for melody harmonizations A complete method to develop a realistic simulation of Shearing-style block-chord voicings on guitar. Plus much more!

This book contains a study and breakdown of "harmony in 4ths". The introduction of quartal harmony in modern jazz began in the 1960's. Compositions by Miles Davis and John Coltrane such as "Impressions" and "So What" showcased chord voicings derived from quartal harmony. The purpose of this book is to show guitarists how to function in an area of harmony mostly dominated by keyboard players. Common uses of quartal harmony are demonstrated and analyzed. Exercises and compositions in the style of Wayne Shorter, Herbie Hancock and others are included. Includes access to online audio which contains demonstrations of all exercises.

An intermediate method for jazz and rock keyboard players. Prerequisite is the knowledge of common chord types. The book provides information on the application of chords and the principles of chord functions and substitutions.

A JAZZ GUITAR BOOK FOR GUITARISTS LOOKING TO UNDERSTAND THE POWER OF UPPER VOICINGS At over three hundred and sixty pages, Upper Structures, Synonyms & Slash Voicings For Jazz Guitar takes a wide ranging and in-depth look at the subject of upper voicings and their application with respect to the guitar. Slash voicings and synonyms are also cover in great detail with numerous examples showing how these musical concepts connect and work om individual examples both played and explained in text and narration, to lick ideas and then full blown solos, this book covers a huge amount of material that will help you understand how upper structures work. WHAT LEVEL OF GUITAR PLAYER SHOULD CONSIDER THIS BOOK? This book is aimed at experienced guitar players and will act as a practical reference and technical guide for players, teachers, educationalists and music conservatoires. With hundreds of musical examples, chord progressions, music and chord diagrams, lick ideas and solo examples as well as in depth theoretical explanation, this book is a must for every aspiring jazz and contemporary guitarist. SECTION ONE - FOUR CHAPTERS INCLUDE THE FOLLOWING TOPICS: Stacking Chords, Chord formulae, Chord extension & alteration, Triads as upper structures, Pseudo scales, Inferring altered dominants, Generating chords across the neck, Chord & line superimposition, Voice leading, Vagrant harmony, Inferring altered dominants, Single line solo ideas, Tri-tones & flat five concepts, Chromatic movement, Deconstructing altered dominants, Synonyms, Movable solo lines, Cascading chords, Motif development, Sidestep line movement. SECTION TWO: A three chapter lick library of 70 original lick ideas that demonstrate each upper structure voicing category. All licks are offered in mp3 format as well as including narration from the author on the points of interest and technical challenges of the line. Each lick is provided in musical and TAB notation. Every chord type includes arpeggio patterns across the fretboard with large format easy to view chords included with each lick example. SECTION THREE: Three chapters offering original jazz guitar solo examples over three well known jazz standard progressions. Full analysis from a comparative, melodic and harmonic viewpoint is included. Solos are fully notated in music and TAB with chords provided in large easy to view format. SUPPORTING DOWNLOAD Over one and a half hours of mp3 files included. Section 1 music examples, Section 2 demonstration licks with author's technical narration and Section 3 which includes complete solo demonstrations as well as a wide range of backing tracks for you to practice over the three included sequences. There are one hundred and sixty nine mp3 files in total.

Not merely "history" plays, documentary dramas rely on actual rather than imaginary events and incorporate other media such as photographs, film clips, and songs. The plays in Voicings use all these tools and address issues that even today remain raw and emotional. Included are works previously not available in English (Piscator's In Spite of Everything!) and never in print (Compensation, a Soviet documentary on the Chernobyl disaster). Landmark drama such as Peter Weiss's The Investigation is also part of this collection. Included as well are the more recent Execution of Justice by Emily Mann and Mame Hunt's Unquestioned Integrity, a drama on the controversial testimony of Anita Hill at the hearings confirming Clarence Thomas's nomination to the Supreme Court.

The contributions to Critical Voices of Black Liberation in the Americas originated from the 1999 CAAR Conference in Munster and from conferences held in the US in 2000 and 2001. More than half of the eleven essays consider black performances on stage, in sound, and on film; the remaining essays explore slavery, African American literature, and nineteenth-century black educators. These exciting essays creatively examine artistic and/or political articulation of black liberation as the construction of a new critical and signifyin(g) voice. This liberated and critical voice asserts itself as much as a communal expression of black subjectivities as it is an articulation of the black self.

Whether you are an arranger or a composer or a music major, JAZZ COMPOSITION AND ARRANGING will help you gain a full understanding of the subject. This comprehensive introduction to the skills and techniques necessary for producing a successful composition and arranging project focuses on the concepts underlying instrumental writing, rather than on stylistic concerns. Narrative and music examples illustrate the harmonic and melodic practices prevalent in today's contemporary jazz music scene. The text focuses on presenting voice-leading tendencies in a number of different contexts: line writing, bass line construction, voicing procedures, and scoring textures.