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Estudio No. 1. (Guitar Lesson)


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Matt Brown

Estudio No. 1.

Matt Brown begins talking about solo arrangements in this lesson. He teaches Carcassi's "Estudio No. 1" as an introduction to this concept.

Taught by Matt Brown in Jazz Guitar with Matt seriesLength: 18:10Difficulty: 2.5 of 5
Chapter 1: (03:18) Lesson Introduction Lesson Goals

The guitar offers many possibilities that are not available to musicians that play other instruments. Many instruments are limited to producing a single note at a time. On guitar however, a chord progression and a melody can be played simultaneously. This enables a guitarist to play complex solo arrangements. Developing this ability requires ambitious study and practice. Throughout this series, Matt will provide you with the tools necessary to mastering this art.

In the current lesson, Matt challenges you with your first solo guitar arrangement. Mateo Carcassi's "Estudio No. 1" will put your performance, technique, and reading skills to the test. Musicality issues such as phrasing, dynamics, and interpretation are addressed. Specific techniques such as string skipping and alternate picking are also discussed.

"Estudio No. 1" features a steady melody line throughout. Chords are seldom used to harmonize the melody line. This allows you to focus your attention on performing the melody line. Before attempting to play a chord progression in conjunction with a melody, you must first master playing melodies by themselves. In the following scenes, Matt explains how to perform the melody musically.

Estudio No. 1

Countless classical guitar pieces have been arranged for electric guitar. Many jazz guitarists practice and perform these pieces as a way of developing solo guitar technique. These techniques can easily be transferred back to the jazz genre. In addition, performing these pieces adds diversity to a jazz guitarists repertoire. Carcassi's Estudio No. 1 will provide you with a brief introduction to the possibilities of solo guitar.
Chapter 2: (07:55) Estudio No. 1 I. Practicing the Piece

A. Listen and Learn

Before diving into the piece, listen to Matt play through it several times. Begin to internalize the sound of the piece before you play it. Then, pick up your guitar and work through the notation.

Note: Tablature and notation to "Estudio No. 1" are listed under the "Supplemental Content" tab.

B. Tempo

This piece can be performed at a wide range of tempos. Typically, it is played anywhere between 104 and 168 beats per minute. However, as you begin to practice through the piece, start at a much slower tempo such as 60 or 70 beats per minute. Once you can play through the entire piece successfully at a given tempo, increase the metronome setting by one notch.

C. Technique

Use strict alternate picking throughout the entire piece. Do not deviate from this pattern regardless of string leaps. However, during the arpeggio section (mm. 29-36), consistent downstrokes can be applied. Spend significant time experimenting with both techniques to discover which works best for you. Matt prefers not to deviate from alternate picking during this section. He finds it awkward to switch to a new picking technique just for a few short measures. The downstrokes produce a slightly louder tone. Do not choose a certain picking pattern because it feels better. Use the picking pattern that sounds better.

D. Musicality Issues

When studying the melody line, you will notice that many of the measures feature wide interval leaps. To highlight this key feature, add a slight accent to the note that is leapt to. This will increase the overall musicality of your performance. Listen closely as Matt demonstrates the first four bars of this piece at 04:40. The accent he applies is rather subtle. Heavy accents will draw too much attention to the leaps in the melody.

Print out the notation provided under the "Supplemental Content" tab. Then, write in where each of these accents should be placed. Write an accent above each large melodic leap. Be careful not to miss any! Leaps do not always ascend within the melody line. Several descending leaps occur as well. These leaps appear in measures 11, 15, 18, 20, 28, and 37.
Chapter 3: (02:19) Harmonizing Notes In measures 23-26, some additional harmony notes are added to the melody. Listen as Matt plays the harmony line at 01:26. The chord progression featured in these measures is a canon. Many of you are probably familiar with Pachelbel's famous canon in D major. This piece follows the same progression in the key of D instead of C.

When this part enters, it must remain smooth and connected. Each harmony note must be held for its full value. It is very easy to cut these notes short. Play the melody and the harmony line separately to hear how each individual voice should sound. Once you can play each individual part successfully, play them together. The harmony and melody notes must be struck at the exact same time. Do not slowly drag the pick through both notes.
Chapter 4: (04:36) Arpeggio Section Simplify!

The arpeggio section spans measures 29-36. It is quite difficult due to the amount of left-hand movement that occurs. At first, practice this section by strumming each chord. Hold each chord for a half note. When you can play the progression in this manner, add the right-hand pattern back in. If necessary, set the metronome to a slower tempo.

Musicality Issues

-Add a very slight accent to the highest note in each arpeggio to create the illusion of a melody line.

-The arpeggio section ends with the dominant chord G. Add a slight ritardando to the end of the section. This will highlight a transition to the final stretch of the piece.

Final Strummed Chords

In the final two measures, make sure that you hear the highest note of each chord as the melody line. Remember that the melody is always the most important part of any piece of music. As a result, it must be brought out from the harmony or highlighted in some way. To make the highest note louder, squeeze the pick more firmly as you pass through the chord. As a result, the higher notes in the chord will sound louder. Do not get sloppy and play one of the inner voices in the chord as the melody!

Preview of Next Lesson

In the following lesson, Matt covers the tune "There Is No Greater Love." He will discuss key elements of this piece such as the minor version of the ii V I progression.

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Jazz Guitar with Matt

Found in our Beginner Lesson Sets

In this lesson set, Matt will teach you everything you need to know to fluently play jazz guitar.



Lesson 1

Intro to Jazz

Check out this lesson to learn some basic jazz theory & chord voicings.

Length: 31:36 Difficulty: 3.0 Members Only
Lesson 2

Voicings & Melodies

Learn some more advanced chord voicings as well as the Charleston rhythm.

Length: 19:13 Difficulty: 3.0 FREE
Lesson 3

Set II Voicings

Learn a handful of Set II voicings & round out your knowledge of the basic jazz chords.

Length: 27:08 Difficulty: 3.0 Members Only
Lesson 4

Applying Chords / Solo Ideas

Apply the chords you've learned & experiment with some solo ideas.

Length: 32:47 Difficulty: 3.0 Members Only
Lesson 5

Scales and Chords Together

Learn which scales work with which jazz chord voicings.

Length: 43:00 Difficulty: 3.0 Members Only
Lesson 6

Circle of Fifths

Matt sheds some light on the circle of fifths.

Length: 28:00 Difficulty: 3.0 Members Only
Lesson 7

Proper Practicing

Learn how to get the most out of your time when practicing.

Length: 31:00 Difficulty: 2.5 Members Only
Lesson 8

Proper Practicing Part 2

Here's the second installment of Matt's proper practicing lesson.

Length: 32:00 Difficulty: 3.0 Members Only
Lesson 9

Physicalities of Playing

Learn how to avoid carpal tunnel and other hand injuries by using proper technique.

Length: 46:19 Difficulty: 1.0 Members Only
Lesson 10

All of Me

Matt Brown teaches the jazz standard "All of Me."

Length: 31:12 Difficulty: 2.0 Members Only
Lesson 11

Lead and Scales

Matt Brown explains how to improvise over the changes to "All of Me."

Length: 7:54 Difficulty: 2.0 Members Only
Lesson 12

Estudio No. 1.

Matt Brown begins talking about solo arrangements in this lesson. He teaches Carcassi's "Estudio No. 1" as an introduction to this concept.

Length: 18:10 Difficulty: 2.5 Members Only
Lesson 13

Reviewing the ii V I Progression

Matt Brown returns to his Jazz series with a review lesson. He applies the standard ii V I progression to the circle of fifths.

Length: 18:10 Difficulty: 2.0 Members Only
Lesson 14

Turnback Progression

In lesson 14, Matt discusses the turnback progression in the jazz style.

Length: 22:20 Difficulty: 1.5 Members Only
Lesson 15

Set Three Voicings

Matt brown discusses and demonstrates the set three voicings used in jazz guitar.

Length: 25:42 Difficulty: 2.0 Members Only
Lesson 16

Jazz Solo Arrangement

In this lesson, Matt demonstrates how to practice jazz solo arrangements by taking a look at "Here's That Rainy Day."

Length: 35:10 Difficulty: 2.0 Members Only
Lesson 17

Expanding on the 12 Bar Blues

In lesson 17, Matt reviews and expands on the jazz version of the 12 bar blues form.

Length: 23:20 Difficulty: 2.0 Members Only
Lesson 18

Adding Voices

In this lesson, Matt adds to your voicing repertoire while playing the Charleston rhythm.

Length: 14:22 Difficulty: 2.0 Members Only
Lesson 19

Key of B Flat Major

Matt Brown talks about lead options when playing a blues in B flat major.

Length: 23:35 Difficulty: 2.0 Members Only
Lesson 20

Key of F

Matt Brown provides instruction and examples of playing jazz heads in the key of F. Once again, all examples follow the 12 bar blues form.

Length: 18:22 Difficulty: 2.0 Members Only
Lesson 21

Jazz Heads in B Flat

Matt Brown takes another look at blues heads in the key of B flat. In this lesson, he covers a head by Thelonious Monk.

Length: 10:03 Difficulty: 2.0 Members Only
Lesson 22

Tools for Solo Arrangements

Matt Brown takes a look at a solo arrangement and provides thoughts and tools necessary to complete this type of guitar playing.

Length: 23:13 Difficulty: 2.0 Members Only
Lesson 23

Introduction to Bossa Nova

Matt Brown starts breaking down the rhythmic tendencies and patterns to the Brazilian Bossa Nova style of playing.

Length: 17:56 Difficulty: 0.0 Members Only
Lesson 24

Blue Bossa #1

In lesson 24 of his Jazz series, Matt takes a look at the melody to Blue Bossa.

Length: 9:12 Difficulty: 0.0 Members Only
Lesson 25

Blue Bossa #2

Matt Brown takes a look at the available chord voicings for Blue Bossa.

Length: 10:39 Difficulty: 0.0 Members Only

About Matt Brown View Full Biography Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."

Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.

Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."

Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.

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