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Jack Grassel Jazz Guitar Standards - Compress

This document is a transcription book featuring classic jazz guitar solos by notable artists such as Billy Bauer, Charlie Christian, and Grant Green, transcribed and performed by Jack Grassel. The publication aims to provide accessible learning tools for both aspiring and professional jazz guitarists, with recordings available at varying tempos for practice. It includes detailed information about the author, the transcription process, and the significance of each artist's contribution to jazz guitar.

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172 views38 pages

Jack Grassel Jazz Guitar Standards - Compress

This document is a transcription book featuring classic jazz guitar solos by notable artists such as Billy Bauer, Charlie Christian, and Grant Green, transcribed and performed by Jack Grassel. The publication aims to provide accessible learning tools for both aspiring and professional jazz guitarists, with recordings available at varying tempos for practice. It includes detailed information about the author, the transcription process, and the significance of each artist's contribution to jazz guitar.

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yalcinhasancebi
Copyright
© © All Rights Reserved
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| ! : A.NIGHT IN TUNISIA / BILLY BAUER STOMPIN' AT THE SAVOY / CHARLIE CHRISTIAN FALLING IN LOVE WITH LOVE / GRANT GREEN IVE GOT YOU UNDER MY SKIN / JIM HALL YARDBIRD SUITE / JOE PASS. ‘YOU BROUGHT & NEW KIND OF LOVE TO ME / CHUCK WAYNE TRANSCRIBED AND PERFORMED BY JACK GRASSEL CONTENTS SONG TITLE TRANSCRIBED FROM THE ORIGINAL RECORDING TRANSCRIBED AND PERFORMED BY JACK GRASSEL a v a About THE AUTHOR INTRODUCTION TUNING NIGHT 1N TUNISIA Ahuy Buen STOMPIN' AT THE SAVOY ‘Caan CHRISTIAN FALLING IN LOVE WITH LOVE GRANT GREEN [ve GOT You UNDER My SKIN JIN HL YaRoAIRO SUITE INES YoU BROUGHT ® New KIND. — CHUCK MeYRE OF LOVE 10 ME GUITAR NOTATION LEGEND Te COMPLETE LENAY TRISTRAD Weacuny 630 921-2 "Swin6 10 QP” Narasua veo W-4020, Reacuiné QUT ack Lion BLCO7EOI2S BILL EvmNS & JIM HALL Verve VE-2-2608 Chops auto ONCCO-106-2 THE JA GUITARIST Savoy J V-0189 CO TRACKS FAST SuOW 1 4 i} fi 1 3 4 4 Hl 1 a 2 8 JAGK GRASSEL Jack Grassel maintains a performance schedule of over 200 concerts and seminars each year. He is Coordinator of Instruction at Milwaukee Area Technical College, ‘Occupational Music Department, as well as being on the faculty of the National Guitar Summer Workshop. He has made numerous recordings, including original compositions as well as jazz standards. For further information, contact Jack Grassel at RO. Box 44205, West Allis, WI 53214. INTRODUCTION This publication represents a new format in jazz education which allows the learning improvisor and profes- sional to access the benefits of studying classic guitar solos, Most transcription books require that the recordings (if available) be searched out, purchased, and only listened to since most players in the develop- ‘mental stages of their playing would not have the technique to play the solos up to tempo. The solos in this, book are: |. Played in tune; many old recordings have been sped up to improve fidelity, raising the pitch as much as a whole step. 2. Recorded at an easy-to-play slow practice tempo. 3. Also recorded at a fast tempo slightly slower than the original, making performance attainable sooner, 4. Recorded on modern equipment with fidelity surpassing the original recordings with a modern rhythm section. Bass and drums are monophonic on both channels. Piano is on the right only. Guitar is on the left only. With your “balance contro!” you can choose what you want to hear. The solos are arranged in progressive order of technical difficulty. We chose performances that are most representative of each master's contribution to the development of jazz guitar Billie Bauer: This student and “sideman” of Lennie Tristano shows his mastery of unusual phrase shapes and lengths, as well as unusual interval jumps in melodies. Charlie Christian: One of the first jazz guitarists was also one of the best. He was a master at creating unpredictable phrases. Grant Green: A melodic genius who was able to sustain his high level of inventiveness and intensity for the duration of his long solos. Jim Hall: A former student of composition shows that a spontaneous jazz solo can also contain the substance of a master composition. Joe Pass: One of the few guitarists to go after a complete pianistic approach to the guitar, integr chords, octaves, single notes, and bass lines into the same solo. ‘Chuck Wayne: This solo demonstrates Charlie Parker-influenced jazz guitar from the fifties (included is the clever head arrangement). talent deserving of wider recognition. The final form you see here is the result of an entire year of work: researching and choosing great solos, transcribing and proofreading for accuracy, countless hours of practicing and recording. Our motive increase the quality of jazz guitar playing and to preserve music which is or may become “out of print.” Jeff Schroedl at Hal Leonard was a big help in developing and improving the book. Up until starting this project | had avoided playing other's solos thinking that my own unique style of playing ‘would be compromised. After spending a year with these masters. I've noticed that | have retained my origi- nal conception of guitar music, but have acquired a technical depth and more tools to play my music my way. So | now recommend this study to any jazz guitarist at any level Special thanks to the fine rhythm section who did their homework: Jim Sodke-keys, Del Bennett-drums,Tom McGirr-bass, and also Bill Litclefield-recording engineer. Jack Grassel A Night in Tunisia Music by John “Dizzy” Gillesple and Frank Papareli [A] Metoay Lively d = 180 (2 , OB bm es —————— ‘ SSS SSS yf 7 L. a 4 F——— = = = 8 = = SS Dm 7 Dm ar 7 bm be £ =i 6 ote = Le =e ee — 1 * 6 —- = = — © Copyright 1944 by MCA MUSIC PUBLISHING, A Division of UNIVERSAL STUDIOS, INC. Copyright Renewed Intemational Copyright Secured All Rights Reserved MCA cueing D ‘Gmimaj?) Gm A7#569) Eb? Dm On 57 Dm Eb Dm a7 j Blouitarsoo re # Eb? Dm ee a 7 Dm Pee Fb? Su, oa = Dm Am Dr Stompin’ At the Savoy By Benny Goodman, Edgar Sampson and Chick Webb [A] Metoay ‘i Uptempo Swings =196 (0-4 2) Get Db © 1926 ROBBINS MUSIC CORPORATION ‘Renewed AYTVOG, INC. RAGBAG MUSIC PUBLISHING CORPORATION and ROBBINS MUSIC CORPORATION ‘Al Rights lor RAGBAG MUSIC PUBLISHING CORPORATION Controls and Administered by ‘JEWEL MUSIC PUBLISHING CO, INC. Ii Fights Resend 10 oe Eom Ab " Ebm Abt Db 13 Ebm As7 Db oor 87 ar Ab7 Db 4 ebm Ab7 Db een 8 Ebm aby 15 as 16 Falling in Love with Love Words by Lorenz Hart # Music by Richard Rodgers [A] Metoay e Moderately J = 168 (0-2 3) Fina? Gut Gr! af = o Fini? Gm? C7 at A7#9 ATbO Dm Gm cn = Fai? Dm? D9 Copyright© 1998 by Witamson Music and Tha Estate Of Lorenz Hart In he United States Copyright Renewed [Al Rights on behalf of The Estate Of Lorenz Hart Administored by WB Music Corp, International Copyright Secured Al Rights Reserved is Gm? cr Gn? a Foi? Gm cit as aw» [B)Guitar soo Gm? Am? yma? C7 Fini? N.C Finaj7 19 mt co Gn? o Fai? Gm C13 Dm Emit Gm? z pas = - ° i o ont es i Ses = 6 t+ — £ ss t — | fea fall iy or i" S 2 oe gt eet mp te See Gm? a Fimaj7 Gm? C7 Fmaj7 19 Gm ct Gmt cr maj? Gm Fina? An3 po Gm7 Am? -Bbmaj? 7 Fai? N.C.

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