By Jean Marc Belkadi
Jean Marc Belkadi offers over 30 nice traces utilizing quite a few strategies and melodic rules.
Covers: exchange, sweep, and bypass opting for; significant scale, chromaticism, arpeggios, superimposing triads; legato, vast periods, adjustments; and lots more and plenty extra. contains usual notation and tablature.
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Extra info for A Modern Approach to Jazz, Rock & Fusion Guitar
62. , 22. 63. , 46. 64. For biographical roots of Fargue’s aesthetics see Warren Ramsey, “‘Words of Light’ and ‘Somber Leaves’: The Poetry of Léon-Paul Fargue,” Yale French Studies 9 (1952): 112–22. 65. Léon-Paul Fargue, “Artisans d’art,” in Lanterne magique (Marseilles: Robert Laffont, 1944), 128–36. 66. M. D. Calvocoressi, “When Ravel Composed to Order,” Music and Letters 22 (1941): 59. 67. Émile Vuillermoz, Histoire de la musique (Paris: Fayard, 1949), 355. 68. Fargue, Maurice Ravel, 58. 69.
Flash forward another fourteen years to 1927 or thereabouts, and the recollections of the writer André Beucler of his friendship with Fargue. 45 A strain of Satie’s waltz song “Je te veux” caught in the air leads them to ruminations on popular song in general—the very essence of the urban soundscape, they agree, and an escape valve from the boredom of the office or shop. Fargue imagines a ballet called Les violons de Paris with a score pieced together from popular songs. A research trip to sheet music and record dealers in working-class quartiers follows.
81 For Pronger, Klingsor was a masked romantic, continually conflicted by the friction between his impassioned temperament and his rationalist and self-critical spirit. Much ink has been spilled in similar assessments of Ravel’s character, including by Klingsor himself who noted that “He seemed mysterious because he was too discreet to reveal his profound ardor. ”82 Or in Jankélévitch’s words: “Ravel is the friend of trompe-l’œil, pretenders, merrygo-rounds, and booby traps. ”83 This line of criticism has encouraged some to detect a substratum of genuine emotion in his work and to identify decoys that deflect the listener from this inner world.
A Modern Approach to Jazz, Rock & Fusion Guitar by Jean Marc Belkadi