جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
A Workbook for Beginning, Intermediate or Advanced Students
by Miles Okazaki
This book is designed to be useful for guitarists at any skill level.
Beginners can use it as an introduction to the foundational concepts of
the instrument, intermediate players can use it for training and
theoretical work, and advanced players can explore the sections on
advanced theory, extended technique and the exhaustive tables of melodic
and rhythmic possibilities. It is divided into two parts: pitch and
rhythm. Part 1 (pitch) begins with the properties of string, harmonics,
and tuning systems. It then moves methodically through pitch
information, beginning with locating all versions of a single pitch,
building pentatonic, heptatonic, and all possible symmetrical scales.
This is followed by a study of intervals, with all possible locations of
every two pitches, and a long study that moves through every possible
fingering of three pitches, with a series of exercises to master triadic
syntax. Part 1 closes with a study of four-pitch structures and
complete tables that show all possible pitch sets in circular visual
notation. Part 2 (rhythm) begins with a complete course in "Symmetrical
Picking," a method based on drum rudiments that builds control in the
picking hand through an exhaustive variety of movements. The focus of
this section is building a strong rhythmic foundation, with a focus on
efficiency, accuracy, speed, dynamics, and groove. It is followed by a
study of legato playing, working with ornaments and slides. The study of
playing with fingers on multiple strings takes up the remainder of the
book. This begins with the study of pulse against pulse, playing two
simultaneous tempos. The book concludes with a study of polyrhythm,
playing one rhythm against another. Plain English is used as much as
possible to describe theoretical concepts, and hundreds of illustrations
were made for the book as an aid to those who either don't speak
English or prefer to think visually. This approach is designed to be
inclusive and to promote creative practice. The main idea of the book is
described in this passage (page 154): "Even in this small area there is
a lot of material, potentially a lifetime of study. The amount of
information can feel overwhelming to students at any level. For this
reason, the book is designed for self-directed practice, with an
emphasis on what the player "could" do, rather than what the player
"should" do. The principle is to develop your own learning process,
rather than following someone else's. The ability to make choices is
essential in finding a personal approach to the instrument. Pick and
choose the studies that seem interesting - there should be enough
variety to accommodate a wide range of personalities. If any particular
concept or exercise has been useful as the starting point for a new
creative direction, then the book has done its job. Its purpose is not
to push any dogma, method, or style, but to open the door to options for
guitarists of any background that are looking for new perspectives.