Is the Chuck Wayne Arpeggios book in print?
Brian Oates
deceased, they were finished by a collaborater who was his student), and in the
forewards of both volumes they talk about the third volume in the series called
Arpeggios (it had a planned release for 2000) . Has anyone seen this in
stores? I have found his other two volumes to be nicely put together and am
hoping that the third volume wasn't shelved by the publisher.
Brian Oates
"If you look to others for fulfillment, you will never be fulfilled. If your
happiness depends on money, you will never be happy with yourself."-Lau Tzu
(from Stephen Mitchell's translation of the Tao Te Ching)
Dan Adler
> I have just recently bought the Scales and Chords books by Chuck Wayne (he is
> deceased, they were finished by a collaborater who was his student), and in the
> forewards of both volumes they talk about the third volume in the series called
> Arpeggios (it had a planned release for 2000) . Has anyone seen this in
> stores? I have found his other two volumes to be nicely put together and am
> hoping that the third volume wasn't shelved by the publisher.
The collaborator is Ralph Patt, and someone from the Yahoo jazz guitar
list contacted him, and he said he would mail photo copies of the book
if you send him a $40 check. You can email him from his web site:
http://www.ralphpatt.com
-Dan
http://danadler.com
http://danadler.iuma.com
Here is the posting:
Thanks to those of you who provided Ralph Patt's website address. I
have
contacted Ralph and he is willing to provide photocopies of the
Dictionary
to all who are interested. This book is referred to in the
acknowledgement
section of Ted Greene's book Single Note Soloing. Ted says: " And Don
Troiano, who exposed me to Chuck Wayne's Arpeggio Dictionary, which
had an
awakening affect on me, showing me the tremendous value in the study
of
chord tones."
The book is available for $40.00 (actually a photocopy of the book)
from
Ralph Patt the coauthor, with Chuck Wayne, of the Dictionary. If you
are
interested in purchasing a photocopy of the Dictionary please e-mail
Ralph
Patt to get his address so you can send a check his way.
If you would like to see a picture of the book go to this site:
http://www.classicjazzguitar.com/artists/artist_picture_page.jsp?artist=32
If you would like to check out Ralph Patt's website this is the
address:
http://www.ralphpatt.com/
I am not making any money off of this, I am just trying to help out
anyone
else that is searching for this impossible to find book.
thanks again to Ralph for taking the time to make this resource
available,
Andrew Barnebey
Brian Oates
Thank you for replying so swiftly! The Chords book I refer to in my original
post is co-written by Agostino Di Giorgio who says in the editor's note:
"From 1985 through his untimely death in July of 1997, I studied with Chuck
Wayne during which time we documented his ideas and teaching practices in these
volumes (Scales, Chords, and Arpeggios). I was privileged to work with this
master, learning the concepts he created. Chuck considered me to be the true
perpetuator of his teachings and it is my great pleasure to share this
revelation with the world at large."
The two books I have been able to buy from this series are both printed with a
guitar logo on the front cover with the words: "The School of Chuck Wayne" in
the logo. The publisher is Hal Leonard and it also says "Second Floor Music"
on the cover at the bottom. It doesn't appear to be the same series you were
involved with, but I don't know about the Arpeggios volume.
Brian
Nazodesu
<gtro...@aol.comnospam> wrote:
> I have just recently bought the Scales and Chords books by Chuck
> Wayne (he is deceased, they were finished by a collaborater who was
> his student), and in the forewards of both volumes they talk about
> the third volume in the series called Arpeggios (it had a planned
> release for 2000) . Has anyone seen this in stores? I have found
> his other two volumes to be nicely put together and am hoping that
> the third volume wasn't shelved by the publisher.
I asked this question on and off for awhile to no advantage. To my
knowledge it has never been published.
There was a book on arps by Chuck that was out in the 60's that I got
that showed, once again, a different approach. Actually his take on
arpeggios was highly individualistic and geared to sweep picking and
the use of minor and major 2nds on adjacent strings.
Since it was a pretty hip approach, I've always been surprised that of
all the volumes that remains unpublished it would be that one.
I sure wish they'd correct this.
--
I can live for two months on a good compliment.
-- Mark Twain
RalphPatt
<< I have just recently bought the Scales and Chords books by Chuck Wayne (he
is deceased, they were finished by a collaborater who was his student), and in
the forewards of both volumes they talk about the third volume in the series
called Arpeggios (it had a planned release for 2000) . Has anyone seen this in
stores? I have found his other two volumes to be nicely put together and
am hoping that the third volume wasn't shelved by the publisher.>>
<<Andrew Barnebey wrote:
The collaborator is Ralph Patt, and someone from the Yahoo jazz guitar
list contacted him, and he said he would mail photo copies of the book if you
send him a $40 check. You can email him from his web site:
http://www.ralphpatt.com
Dan
http://danadler.com
http://danadler.iuma.com
Here is the posting:
Thanks to those of you who provided Ralph Patt's website address. I have
contacted Ralph and he is willing to provide photocopies of the Dictionary
to all who are interested. This book is referred to in the acknowledgement
section of Ted Greene's book Single Note Soloing. Ted says: " And Don
Troiano, who exposed me to Chuck Wayne's Arpeggio Dictionary, which
had an awakening affect on me, showing me the tremendous value in the study
of chord tones." If you would like to see a picture of the book go to this
site:
http://www.classicjazzguitar.com/artists/artist_picture_page.jsp?artist=32
If you would like to check out Ralph Patt's website this is the address:
http://www.ralphpatt.com
I am not making any money off of this, I am just trying to help out anyone
else that is searching for this impossible to find book. Thanks again to Ralph
for taking the time to make this resource available
Andrew Barnebey>>
There may be some confusion here about the Chuck Wayne Books. I wrote the first
two books with Chuck in the early 1960s that were published by Henry Adler and
then the publishing rights were sold to another company (Belwin Mills).
They were "Guitar Chord Dictionary" and the "Guitar Arpeggio Dictionary".
Belwin Mills let them to go out of print in the 1970s.
Chuck wrote a book titled "Scales" that was published by Hal Leonard in 1996. I
assume he planned other books before his untimely death but I'm not aware of
them.
I hope they will be published
Brian Oates said he had purchased "Scales and Chords Books". I interpret that
to mean there are two books in the Hal Leonard series but I've not seen the
"Chords" book.
I hope this clears up some confusion.
Ralph Patt
Nazodesu
<gtro...@aol.comnospam> wrote:
> The two books I have been able to buy from this series are both
> printed with a guitar logo on the front cover with the words: "The
> School of Chuck Wayne" in the logo. The publisher is Hal Leonard and
> it also says "Second Floor Music" on the cover at the bottom. It
> doesn't appear to be the same series you were involved with, but I
> don't know about the Arpeggios volume.
That books remains unpublished and I can't find out if this will every
cahnge.
Moving on: if the method Chuck used for arpeggios is of interest to
you, the volume published in the 60's contains his approach.
I think I'll try to contact Hal Leonard for information on this. A
year or more in the past I tried making contact with folks and got no
information. "Duh...." was about the whole of it.
--
Samba salvara' o mundo! -- Santa Ana, California
Nazodesu
wrote:
> Moving on: if the method Chuck used for arpeggios is of interest to
> you, the volume published in the 60's contains his approach.
Speaking of which, I memorized and pracised these diligiently in the
late 70's. Did any one else. They are odd and I wondered what utility
others got out of them.
--
Every day, people are straying away from the church and going back to God.
-- Lenny Bruce
Dan Adler
> In article <221120010808528747%22...@home.com>, Nazodesu <22...@home.com>
> wrote:
>
> > Moving on: if the method Chuck used for arpeggios is of interest to
> > you, the volume published in the 60's contains his approach.
>
> Speaking of which, I memorized and pracised these diligiently in the
> late 70's. Did any one else. They are odd and I wondered what utility
> others got out of them.
My first jazz guitar teacher was a student of Chuck Wayne and he
taught me his arpeggio system. I see his arpeggios as a direct
extention to the extended scale fingerings that are in his scales
book.
The formula is pretty simple, so it's not hard to derive it yourself.
It's:
low-to-high string:
2 notes (e.g. root + 3rd)
1 note (5th)
2 notes (e.g. 7th + root)
1 note (3rd)
2 notes (5th + 7th)
So, a G major 7 in 3rd position would have:
6th string: G B
5th string: D
4th string: F# G
3rd string: B
2nd string: D F#
From this you can pretty much derive the whole thing.
IvanDRodriguez
>2 notes (e.g. root + 3rd)
>1 note (5th)
>2 notes (e.g. 7th + root)
>1 note (3rd)
>2 notes (5th + 7th)
YIKES...
I know, not a very deep or technical answer, but after just trying it.. I knew
I didn't like it...LOL
Ivan
Nazodesu
<d...@danadler.com> wrote:
Thanks for stating it explicitly so others get the gist.
I learned it with book in hand and Chuck in front of me. The question
really is, did/do you get any utility out of them? Did they become
part of your personal "dialect" on the instrument?
As for me, I used them a lot at that time but had to strain to
accomplish this. Still, from time to time, I find the legate
possibilities available with those 1/2 and whole steps on adjacent
strings (one of the rationales for this approach) to be very nice.
Yet, I find that I can *either* think in a default perspective of the
neck vis-a-vis arpeggios or I can think Waynian! I like both, but at
some level they've never truly merged. It's a personal generalization,
but it's like all the Waynian arps are "bridge" arpeggios between what
I think of as base positions. Does that make sense?
--
With no bird singing, the mountain is yet more still.
-- Zen Saying
Nazodesu
IvanDRodriguez <ivandro...@aol.com> wrote:
Some are more difficult than others. That one's not the worst..
They are constructed to use 5 adjacent strings; the above
(G-Root-E-string) could also have started on any of 4 scale tones on
the E string or 4 scale tones on the A string.
Perhaps the example above is not one that gives the best flavor of the
approach since you get one adjacent-string chord which is a little low
(B D F#) and the other is just a straight triad (G B D). But as it's
in root position, it's easier to explain.
Try another flavor: key of G, starting from the 5th on the A string.
Same format as indicated produces:
2 notes - (5-7: D, F#)
1 note - (R: G)
2 notes - (3-5: B, D)
1 note - (7: F#)
2 notes - (R, 3: G,B)
Admittedly this is one of the more difficult of the fingerings, both in
the arp (Major 7th) and the positioning (relatively low on the neck for
the fingering). But if you use it higher and you'll get two VERY tight
voicings (753, 57R) that are lovely and much easier to play.
One of the points of this approach is that you had the potential for
sweep picking on 3 out of every four notes, and that you also had a
playable chord voicing at any time--producing more a legato sound.
For fluidity I like the sound/feel of the m7b5 voicings/positionings.
--
A computer without a Microsoft operating system is like a dog without a
bunch of bricks tied to its head.
thomas
These are great for your chops and learning to move around
the neck. The challenge is to finger them so that your left
hand is always in motion up the neck (for ascending arps)
and down the neck (for descending arps).
You never stop in any one position. They sound great because
you are always in the optimal position on the neck for good tone.
Dan Adler
> I learned it with book in hand and Chuck in front of me. The question
> really is, did/do you get any utility out of them? Did they become
> part of your personal "dialect" on the instrument?
>
Yes. I use them all the time. I like extended fingerings. I don't
think these arpeggios have to go hand-in-hand with Chuck's picking
technique - they are just the locations of the chord tones in the
extended scale fingerings - so I don't see how you would use extended
fingerings and not use them.
It must have been some experience studying with Chuck. Rumor is that
he was also a killer classical guitarist. Can you confirm?
Nazodesu
<d...@danadler.com> wrote:
> > I learned it with book in hand and Chuck in front of me. The question
> > really is, did/do you get any utility out of them? Did they become
> > part of your personal "dialect" on the instrument?
> >
> Yes. I use them all the time. I like extended fingerings. I don't
> think these arpeggios have to go hand-in-hand with Chuck's picking
> technique - they are just the locations of the chord tones in the
> extended scale fingerings - so I don't see how you would use extended
> fingerings and not use them.
>
> It must have been some experience studying with Chuck. Rumor is that
> he was also a killer classical guitarist. Can you confirm?
I can't but I know others here did study privately with him. Me, I use
to go to Gregory's on the East side in the mid-70's when he played in a
trio with Warren Chaison. I lived around the corner for a few months.
So I'd go over there and pester him about this stuff. I barely knew
who he was at the time.
In fact I started off with him by saying I couldn't make a lick of
sense out of this approach. Recognizing me for the oaf I was, he
calmly and specifically straightened me out.
--
Life is what happens to you while you're busy making other plans.
-- John Lennon
Max Leggett
>sense out of this approach. Recognizing me for the oaf I was, he
>calmly and specifically straightened me out.
With a left hook followed by an uppercut? :)
Dan Adler
> I can't but I know others here did study privately with him. Me, I use
> to go to Gregory's on the East side in the mid-70's when he played in a
> trio with Warren Chaison. I lived around the corner for a few months.
I saw him at Gregory's once myself. I remember that he played
"Confirmation" so fast that I needed help to pick my jaw off the
floor. Most other people there were just having dinner, probably
oblivious to the fact that they were part of a major historical event.
sgcim
It's weird, but I can tell if a guitarist studied with Chuck from just
one solo.
I did it with Mark Elf and Carl Barry. They'd probably know if the
book has been published or not because they went about as far as you
can go with the sweep picking arpeggio concept.
Nazodesu
<mle...@sprint.ca> wrote:
You'd think so, but no. The man had an uncommon amount of grace,
dignity and outright class. I've told this story before, but it is
indelibly tattooed on my memory:
The first time I met him in NYC it was Autumn in New York and it was
ripping rain. We scrambled into Gregory's, me and the other half of my
duo, a pianist. We listened to the bulk of a set. Then Warren and
Chuck came over to the bar where we both began chatting privately with
each of them. I offered by stumblebum analysis of the arpeggios to
Chuck. He wised me to the whole deal in about 5 minutes. Then the
next set was scheduled to begin. Chuck turned to me and my pianist,
the only ones in the entire club, and said, "You're the whole audience.
Do you want to chat or do you want to listen?" We chatted for another
hour. Amazing.
Elsewhere...
In article <7318994a.01112...@posting.google.com>, sgcim
<sg...@hotmail.com> wrote:
> It's weird, but I can tell if a guitarist studied with Chuck from
> just one solo. I did it with Mark Elf and Carl Barry. They'd probably
> know if the book has been published or not because they went about as
> far as you can go with the sweep picking arpeggio concept.
I think the most notable aspect to his approach was not the speed he
got from his sweeps or any other aspect of his speed. But the that he
made use of this additional time to play in a relaxed and comfortable
fashion--despite the speed. Even more than Tal, to my tastes, he has
this loose and comfortable manner at those tempos. That's what I like
best about ChuckWayne regardless of the tempo.
--
Talk does not cook rice.
-- Chinese saying