Leads to total mastery of harmonic and technical aspects of the guitar.Full description
Descripción: guitar
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Guitar MethodDescripción completa
early baroque guitar antology
Guitar MethodFull description
Pianist Barry Harris' method which outlines a more summarized, yet in-depth, approach to jazz harmony. Method adapted for guitar by Alan Kingstone.
Pianist Barry Harris' method which outlines a more summarized, yet in-depth, approach to jazz harmony. Method adapted for guitar by Alan Kingstone.Descripción completa
early baroque guitar antology
sipDeskripsi lengkap
mechanical mechanismsFull description
EPSDescripción completa
Full description
Van Halen guitar mags
Descripción: Van Halen guitar mags
Book of harmonyFull description
Book of harmony
GEORGE VAN EPS “HARMONIC MECHANISMS FOR GUITAR – VOL.2” Summary
page
1.Reductions – 6 to 1 down – 12 keys – full range Resolution = 1st inversion (Major) _________________________________________________11 Variation example of continued line, place in all keys major and minor____________________15 2. Reductions – 6 to 1 up Resolution = 2nd inversion (Major) ________________________________________________17 6 to 1 variations – sustain the whole tone 'C' until restruck, then sustain again ______________22 3.Reductions – 1 to 6 down Resolution = 1st inversion (Major) _________________________________________________23 4.Reductions – 1 to 6 up Resolution = 2nd inversion (Major) ________________________________________________28 5.Reductions – 6 to 1 down – 12 keys Resolution = 1st inversion (Harmonic minor)_________________________________________33 6. Reductions – 6 to 1 up Resolution = 2nd inversion (Harmonic minor)________________________________________38 7.Reductions – 1 to 6 down Resolution = 1st inversion (Harmonic minor) ________________________________________43 8.Reductions – 1 to 6 up Resolution = 2nd inversion (Harmonic minor) _______________________________________48 9.Reductions – 6 to 1 down – 12 keys – full range Resolution = 1st inversion (Melodic minor) __________________________________________53 10.Reductions – 6 to 1 up Resolution = 2nd inversion (Melodic minor)_________________________________________58 11.Reductions – 1 to 6 down Resolution = 1st inversion (Melodic minor) ________________________________________ 63 12.Reductions – 1 to 6 up Resolution = 2nd inversion (Melodic minor) ________________________________________ 68 13.Reductions – Double 6 to 1 down (G Major) ________________________________________73 Reductions – Double 6 to 1 down using ascending notation in both lines Resolution = both 6ths together (G Melodic minor) __________________________________75 14. 1 to 8 – up – 8 to 1 – down (Melodic minor)________________________________________ 77 Compound 8 to 1 reduction examples______________________________________________88 15. 3 to 10 – 10 to 3, 10 to 3 – 3 to 10 Reductions (Major and Minor)_______________________89 3 to 10 down – 10 to 3 up – 12 keys – full range (Major)______________________________90 Apply mixtures of the previous finger and set markings to the next six keys_______________96 3 to 10 down – 10 to 3 up – 12 keys – full range (Harmonic minor)_____________________102 Apply mixtures of the previous finger and set markings to the next six keys_______________108
3 to 10 down – 10 to 3 up – 12 keys – full range (Melodic minor)__________________________114 Apply mixtures of the previous finger and set markings to the next six keys_______________120 Sounding lowest note just once – example – (G Melodic minor)________________________126 10 to 3 down – 3 to 10 up (Major)__________________________________________________129 Apply mixtures of the previous finger and set markings to the next six keys______________135 10 to 3 down – 3 to 10 up (Harmonic minor)_________________________________________141 Apply mixtures of the previous finger and set markings to the next six keys______________147 10 to 3 down – 3 to 10 up (Melodic minor) Apply mixtures of the previous finger and set markings to the next six keys______________147 The lowest note of the upper line is sounding only one in each station (G Melodic minor)___165 TWO PART CONTRARY MOTION 6 to 8 to 10 to 12 (Major)____________________________________________________________174 (Harmonic minor)__________________________________________________________________178 3 to 10 to 3 example – mixed minors = harmonic down – melodic up – place in all keys (G minor)__181 DIVIDED VOICINGS (open voicings)_________________________________________________183 MAJOR, HARMONIC MINOR – 12 keys_______________________________________________185 5 keys – All fingered________________________________________________________________195 Variation examples – place in all keys Major and Minor____________________________________205 MELODIC MINOR 10 to 1 – 1 to 10 10 to 1 down – 1 to 10 up (Major)______________________________________________________207 (Harmonic minor)___________________________________________________________________219 (Melodic minor)____________________________________________________________________231 12 to 3 to 10 – dominant 7th to major through the cycle of the fifths____________________________244 10 to 5-3-1________________________________________________________________________245 10th reductions_____________________________________________________________________249 8 to 5 to 2 to 5 to 8 reductions_________________________________________________________251 10ths WITH INNER LINE MOTION_________________________________________________253 CHROMATIC CONCEPT____________________________________________________________276 “ “ applied to triads__________________________________________________________________279 “ “ open voiced triads________________________________________________________________311 “ “ scales within scales_______________________________________________________________343 “ “ contrary motion__________________________________________________________________358 “ “ thenths with inner line motion_______________________________________________________363
