"Jazz Guitar Software"
Qneechee
Much to my dismay PG music has discontinued this product. I would greatly
appreciate any advice in tracking down a copy of this program.
Garry Hansen
Qneechee wrote in message <19990228203116...@ng151.aol.com>...
All that I can tell you is that I bought it just this weekend from a music
store (Tony's Musicbox in Fredericton, NB). It was their last copy. Even
though it's been discontinued, my guess is that there's still a lot of old
stock floating around. Keep looking at both music stores and software
stores.
Garry Hansen
Charlie Christian: Legend of the Jazz Guitar
http://www3.nbnet.nb.ca/hansen/Charlie/
Robert Irwin
play some fine guitar arrangements of standards is appreciated by so few
people that it could not sustain itself in the 'market place', or it
could be copywrite problems. Do a metacrawler search. You might find
some mail order house that has it back stock.
Bob Irwin
http://pages.prodigy.net/bobirwin/tworoad.htm
Cookie Monster
>It is a shame that one of the greatest learning aids ever produced to
>play some fine guitar arrangements of standards is appreciated by so few
>people that it could not sustain itself in the 'market place', or it
>could be copywrite problems. Do a metacrawler search. You might find
>some mail order house that has it back stock.
>
I heard it was copyright issues. I hesitate to make this suggestion,
but since you can't buy it anymore you might have a look at
alt.binaries.sounds.utilities It has sometimes been posted to that
group.
DWilli0580
>>some mail order house that has it back stock.
I just found out there's on at auction at Ebay. (I have no relationship to
Ebay, by the way.) Check out:
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=72509087
Dave
Glenn
Robert Irwin wrote in message
It is a shame that one of the greatest learning aids ever produced to
play some fine guitar arrangements of standards is appreciated by so few
people that it could not sustain itself in the 'market place', or it
could be copywrite problems.
Just curious, what songs and standards were available for this software
program "Jazz Guitarist"? Does anyone have a list of the songs that were
available?
Thanks, Glenn
Wesley Dick
>
>Just curious, what songs and standards were available for this software
>program "Jazz Guitarist"? Does anyone have a list of the songs that were
>available?
>Thanks, Glenn
Sorry for having to post such a long list but it's all I have.
>
@001 As Time Goes By, was written by H. Hupfield. Who can
forget this theme from the movie Casablanca where a brooding
Humphrey Bogart says to the piano player, "...Play it Sam, you
played it for her, now you can play it for me...". The arrangement
begins with the regular guitar trio, chord solo format for the first
chorus and then illustrates some typical comping when the melody
instrument takes over. This lyric theme that "the fundamental things
apply, as time goes by" captured the hearts of people and made it a
huge all-time hit. Note that most of the tunes in The Jazz Guitarist
will sound best with Acoustic Bass and Nylon String or Jazz Guitar.
The drums can be set to Brushes if available (General Midi Patch
41).
@002 Arthur's Theme, was written by Burt Bacharach, Christopher
Cross, Carol B. Sager and Peter Allen. This was the theme from the
Dudley Moore movie "Arthur" and was recorded by pop singer Chris
Cross. This quartet arrangement will sound best with the piano on
Electric Piano and the bass on Fretless. The guitar arrangement has
been kept simple (i.e.: thirds and sixths) as the full block-chord
treatment doesn't work well with pop tunes.
@003 Bill Bailey, was written by H. Cannon. This two-beat swing
tune is often played at dances or singalongs. Written many years ago,
it was first performed in the bluesy-torchy style. This arrangement is
a shuffle treatment with the melody stated chordally and an
improvised solo for the second chorus. Note the use of octaves in the
solo. Classical players use a different fingering for octaves. This
fingering is the "Wes Montgomery" style of octave playing.
@004 My Melancholy Baby, was written in 1911 with music by
George Norton, lyrics by Ernie Burnett. Often thought of by
musicians as a corny tune, audiences used to tease the band with the
request "...Can you play Melancholy Baby?...". This tune is in fact,
actually a love song with a pleasing melody and a tender lyric. The
guitar part makes use of some reharmonization . Note on the ending,
the use of the descending chord progression starting from the
#4m7(b5) chord.
@005 Glow Worm, was written by Paul Lincke.
This was probably the most famous of the many
tunes recorded by the Mills Brothers. The guitar pays homage to this
famous singing trio by using their type of phrasing and three-part
voicings.
@006 Alexander's Rag Time Band, was written by Irving Berlin. It
is usually performed as a "razzmatazz" Dixieland tune. The
arrangement is played as a guitar trio shuffle treatment with the
melody stated in chords. Notice the mixture of single-line and
chords in the solo chorus.
@007 Blues in F, was written by Oliver Gannon . This is a very
simple "riff" type blues. A blues riff is a repeated, bluesy sounding
phrase that can be played over and over behind the changing chords.
Because of its' 12 bar repeated nature, the blues is a good place to
start when learning improvisation because one can become quickly
familiar with the chord progression.
@008 Begin the Beguine, was written by Cole Porter, one of the
greatest of the American song writers. He always wrote the lyrics and
the music. He was known for his elegant chord progressions and
witty lyrics. This tune was written when the "Beguine", a Latin dance
was fashionable. It was played so often that the musicians were
heard to say "..I wish they would END the Beguine..".
@009 Blue in Green, was written by Miles Davis and Bill Evans. In
several interviews, Bill Evans claimed that the tune was actually
written by him alone and he wondered why Miles took credit for it.
This haunting, sophisticated melody seems to flow effortlessly so
that the end leads beautifully back to the beginning.
@010 Can't Help Falling in Love With You, was written by Weiss,
Peretti and Creatore. First recorded by Elvis Presley, it was later
recorded by Canadian pop star Corey Hart. The guitar states the
melody in a finger-picking, self-accompanying style. In the second
chorus, when the melody instrument takes over, the guitar goes to an
arpeggiated, accompaniment/fill mode. Like most pop tunes, this will
sound best with Electric Piano and Fretless Bass.
@011 Carnival, or Manha de Carnival, was written by Brazilian
guitarist Luiz Bonfa and was released with an English lyric and title
(by Carl Sigman) as, "A Day in the Life of a Fool". It is one of the
many beautiful songs from the Brazilian movie Black Orfeus which
also featured the tune, Samba de Orfeu. Notice the use of sixths
with chordal shots in the statement of the melody. This can be a
useful alternative to the block style.
@012 Come Rain or Come Shine, was written by the great American
song writer Harold Arlen with lyrics by the equally wonderful
Johnny Mercer. Originally a torch song, this guitar trio rendition
features a lighter, more up-tempo jazz approach. This meaty chord
progression has always been a favorite with jazz musicians.
@013 The Days of Wine and Roses, was written by Henry Mancini
with lyrics by Johnny Mercer. This was the theme from the movie of
the same name which starred Jack Lemmon and Lee Remick. More
often played as a swing tune, it is played here as a Bossa Nova.
Notice in the improvised section, single-lines are interspersed with
comping. This is a good technique for the guitar trio format. One
wouldn't comp as much if there was piano.
@014 East of the Sun (and West of the Moon), was written in 1934
by Brooks Bowman. Originally intended as a ballad, it is usually
performed as a medium-tempo tune. It was recorded by many artists
and the Sinatra version still holds up as one of the best. Many great
jazz artists have paid tribute to Frank's consistently great statement
of melodies.
@015 Easy to Love, was written in 1936 by Cole Porter for the
musical "Born to Dance". This guitar trio arrangement features a lot
of chord melody. Notice in the fourth bar, the use of the tri-tone
substitution - i.e.: instead of playing F7 ( the normal chord ) the
guitar and bass substitutes F#m7, B9. This holds over for the
improvised section as well and it adds a nice harmonic twist.
@016 Evergreen, was written by the prolific Paul Williams and
Barbra Streisand. Streisand not only co-wrote the tune but recorded
it
beautifully. The guitar states the melody in simple sixths and thirds
for the first chorus. When the melody instrument takes over in the
second chorus, the guitar switches to arpeggiated backing.
@017 Falling In Love With Love, was written in 1938 by the great
songwriting team of Richard Rodgers and Lorenz Hart for the
musical "The Boys From Syracuse". Originally written as a waltz, it
is usually performed in four-four time. In the 7th bar, note the
reharmonization of the Cm7th chord to Bm7, E9 to add a little spice.
@018 A Foggy Day, was written by George and Ira Gershwin in
1937 for the Broadway musical "A Damsel in Distress". The
Gershwins later recalled that it was inspired by their good friend
Oscar Levant who was visiting London for the first time and had
cabled to say that he was feeling lost and lonely. This tune has been
recorded by many artists including the great Ella Fitzgerald. The
treatment on this tune is very straight-ahead.
@019 Good Bait, was written by Tadd Dameron and Count Basie
(although many publications credit Dizzy Gillespie). The melody is
stated in unison with chord comps where possible. This is the usual
way of dealing with Bebop heads. Note that most of the tunes in the
Jazz Guitarist will sound best with Acoustic Bass and Nylon String
or Jazz Guitar.
@020 I Can't Get Started, was written in 1935 by Vernon Duke with
lyrics by Ira Gershwin. Vernon Duke, incidentally has written a great
book called "The American Popular Song". This is a must for anyone
who is interested in learning about the great standard tunes. It is
probably available from most libraries. In the first chorus , the
arrangement uses the original chords , while in the solo section the
chromatic reharmonization is used in the third and fourth bars.
@021 I Could Write a Book, was written in 1940 by Richard
Rodgers with lyrics by Lorenz Hart for the musical "Pal Joey". In this
quartet arrangement the guitar plays generally more single-lines in
the improvised section (without comping). This is because the piano
is comping. The piano will sound best on Electric Piano.
@022 I Concentrate on You, was written in 1939 by Cole Porter.
Porter was known for his 64 bar tunes of which this is one, (most
standards are 32 bars). This prompted some speculation that maybe
he was getting paid by the bar.
@023 I Didn't Know What Time it Was, was written in 1939 by
Richard Rodgers and Lorenz Hart. In the 8th bar the arrangement
incorporates a reharmonization by substituting a Gm7,C7 for the
Am7,D7 before the F#m7 of the 9th bar. Reharmonization like this,
if it's done tastefully and not over-done can be very effective. The
reason this works here is that Gm7,C7 moves logically and
musically to F#m7, AND there is no conflict with the melody.
@024 I Get a Kick out of You, was written by Cole Porter. Frank
Sinatra sang the definitive version. The 64 bar length is typical of
Porter. Notice in the last chorus the effective use of modulation at
an
unexpected time.
@025 I Love You, was written by Cole Porter. This song is a
favorite of jazz musicians and this is a typical guitar trio
treatment,
although it is played here a touch slower than usual. Joe Pass played
a very nice version of it on the album "Intercontinental".
@026 Indian Summer, was written by Victor Herbert and Al Dubin.
It was originally intended to be played slower but typically, jazz
musicians got hold of it and pepped it up. Chordally, it is
distinguished by the augmented chord in the 2nd bar and also the
chromatic two-five at bar 27.
@027 It's All Right with Me, was written in 1953 by Cole Porter for
the movie "Can Can". Another typical 64 bar tune for which Cole
had a propensity, it is also associated with Sinatra. Note that most
of the tunes in the Jazz Guitarist will sound best with Acoustic Bass
and Nylon String or Jazz Guitar.
@028 I Want to be Happy, was written by Youmans and Caesar.
This light and frivolous tune can sound good when given a medium-
swing and jazz guitar treatment.
@029 Oh Lady Be Good, was written by George and Ira Gershwin.
Another one of the wonderful Gershwin tunes which musicians
enjoy playing on because it has such a natural feel. This almost
starts off as a blues but in fact has a 32 bar structure.
@030 Love Walked In, was written by George and Ira Gershwin in
1938. There is some reharmonization in this arrangement. Bar 3 is
normally a G9 chord. This is changed to Abm7, Db9. In the 7th bar
the G9 is changed to a Bm7, E9 and then in the 8th bar the C7 is
changed to C#m7,F#9 which leads nicely into the Cm7th of the 9th
bar.
@031 The Man I Love, was written by George and Ira Gershwin.
Originally written as a ballad, it is most often played in an up-tempo
mode. Notice the guitar sustains the melody and the comping at the
same time.
@032 Have You Met Miss Jones, was written by Richard Rodgers
and Lorenz Hart. Frequently played in the jazz repertoire, it is
known for it's ever modulating bridge which some speculate might
have been an inspiration for John Coltrane's "Giant Steps". This
arrangement begins with a guitar solo up to the bridge.
@033 The More I See You, was written by Warren and Gordon.
The first chorus is played as a guitar solo and completely rubato,
(i.e.: out of tempo). For a guitar trio it is a nice effect when the
rhythm section joins the guitar in tempo. Note that most of the tunes
in the Jazz Guitarist will sound best with Acoustic Bass and Nylon
String or Jazz Guitar.
@034 Nardis, was written by Miles Davis. This tune is a "jazz" tune
as opposed to a "standard". Note its Mid-Eastern flavor. The Bill
Evans Trio performed one of the definitive versions. At the
beginning notice the loose feel created by the bass playing a
scattered two-feel.
@035 Nice Work if You Can Get It, was written by George and Ira
Gershwin in 1937 for the musical "A Damsel in Distress". Notice the
dominate 7ths moving up in fourths for the first four bars. The guitar
trio form owes a lot of its development to Barney Kessel who's great
"Poll Winner" series of records (recorded in the fifties and sixties
with Ray Brown and Shelley Manne) were landmarks in the guitar
world.
@036 Night and Day, was written by Cole Porter. This version is
played "Latin" all the way through. An alternative effect would be to
"swing" the bridge for rhythmic contrast as this 64 bar tune is fairly
long. Joe Pass gave a very good rendition on his album "For
Django".
@037 Old Devil Moon, was written by Burton Lane and
E.Y. Harburg in 1946 for the musical, "Finian's Rainbow". Pianist
McCoy Tyner recorded a classic rendition in the 60's, part of which
the guitar refers to in the intro.
@038 Our Love is Here to Stay, was written by George and Ira
Gershwin. This is a complete guitar solo in tempo. It begins in the
key of E (to utilize some open strings) and modulates to F for the
second chorus. The landmark solo guitar album is Joe Pass'
"Virtuoso" recorded on the Pablo label.
@039 People, was written by Julie Stein and Bob Merrill in 1963.
Barbra Streisand had the major hit on this one. In bars 15 and 16
their is a series of two-five chords descending in minor thirds as an
alternative turn-a-round. Note the use of chromatic chord approaches
and also the modulation for added interest.
@040 The Rose, was written by A. McBroom and is the theme of
the movie of the same name which starred Bette Midler. The guitar
treatment here is very simple as it is on most of the pop tunes
incorporating mainly triads. This will sound best with Electric Piano
and Fretless Bass. (Remember though, that most of the tunes will
sound best with Acoustic Bass).
@041 Secret Love, was written by Fain/Webster for the Broadway
play and movie "Calamity Jane". On this tune, the arrangement
begins with a sensitive rubato solo in D for the first 8 bars and then
brings it into tempo. The guitar is joined on the second chorus by the
rhythm section, and then a modulation to F.
@042 September In The Rain, was written by Harry Warren and Al
Dubin. Dinah Washington had a hit recording of this tune in the
mid-fifties. This version is pleasantly relaxed. Note the use of
thirds
in the solo section.
@043 Someone To Watch Over Me, was written by George and Ira
Gershwin. This is one of the most beautiful of the Gershwin ballads.
There is also a beautiful 32 bar verse to this tune which is usually
done in rubato. For reasons of length, it is not played here. Notice
the descending bass line in the first phrase each time.
@044 Sweet Georgia Brown, was written by Bernie and Pinkard in
1925. This "old standard" is a perennial favorite of jazz musicians
and singers. It's been performed in all different styles of jazz from
Dixieland to modern and has had many Bebop heads or melodies
written over it's changes.
It is usually performed quite up-tempo but here the treatment relaxed
and "swingin". If you have a drum set with brushes you might want
to set it to General Midi patch 41 (brushes) for maximum
effectiveness.
@045 Tea for Two, was written by Youmans and Caesar. Usually
performed these days as a Cha Cha, it's played here as a medium-
swing tune and features a surprise modulation in the last chorus.
Pianist Thelonius Monk recorded a great solo version of this tune
which has the hippest reharmonization. Check it out!
@046 They Cant Take That Away From Me, was written by George
and Ira Gershwin. The guitar plays it solo for the first 8 bars and
then the rhythm section joins in for an easy swingin' rendition which
features, as usual, a lot of chord soloing.
@047 This Can't Be Love, was written by Richard Rodgers and
Lorenz Hart in 1938 for the Broadway show "The Boys From
Syracuse". It's amazing to notice how many lasting standards were
written for the Broadway stage in the thirties and forties by the
likes
of Rodgers and Hart, the Gershwins, Cole Porter, Irving Berlin and
later,Rodgers and Hammerstein.
@048 You'd Be So Nice To Come Home To, was written in 1942 by
Cole Porter for the Broadway show "Something to Shout About". It
has always been a favorite vehicle for jazz instrumentalists and
vocalists. This is a is a straight-ahead, medium tempo rendition with
no tricks.
@049 You Go to My Head, was written by Gillespie and Goots.
One of the most sensual recordings of this ballad was by the great
Billie Holiday. It could be said that she "owns" this tune. The guitar
begins solo and then is joined by the rhythm section at the bridge for
a dreamy rendition.
@050 When I Fall In Love, was written by Young and Heyman.
This arrangement begins with the guitar playing the melody in a
rubato chord solo in the key of E to utilize open strings. The bass
and drums enter in tempo at bar 17. There is a modulation to F in the
second chorus. The Bill Evans Trio recorded a memorable version of
this tune.
@051 Where or When, was written by Rodgers and Hart in 1937 for
the Broadway show "Babes in Arms"....another great standard from
the heyday of the American Popular Song. In the statement of the
melody on this one and others, the guitar part is influenced by the
superb phrasing of Frank Sinatra.
@052 When Your Lover Has Gone, was written by in 1931 by
E.A.Swan. This chord solo starts out on an Abmaj7 voicing where
the first finger descends two more frets. This is a fairly large
stretch
but very effective. This melody has a lot of pleasing intervals.
Notice
the half-step ascending melodic motif throughout. This sets up a few
interesting chordal challenges.
@053 Wind Beneath My Wings,was written by Henley and Silbar
and recorded by Better Midler. This treatment is very simple and
uncluttered. Electric Piano should be used and Vibes are suggested
as the melody instrument, although any other instrument of choice
may be used. In the second chorus the guitar changes to an
accompaniment role and in the third chorus it joins the melody
instrument.
@054 Young and Foolish, was written by Arnold B. Horwitt and
Albert Hague in 1954. Tony Bennet had the big hit on this one.
Notice the use of reharmonization (e.g.: in the 2nd bar, going to
B9#11 before the Bb7). Many of these chordal tricks were pioneered
by Bill Evans who performed a great rendition of the tune.
@055 Give My Regards to Broadway, was written by George M.
Cohan the feisty Irish New Yorker who was portrayed by Jimmy
Cagney in the classic film "Yankee Doodle Dandy". Originally done
as a quick two-beat, this arrangement features a "jazzier" approach.
@056 Down By The Riverside, was written by Jordan and Dazz.
This "three-chord-wonder" (great for around the campfire) is spruced
up a bit stylistically in this shuffle rendition.
@057 Let Me Call You Sweetheart, was written by Leo Friedman.
This ultra-simple rendition was included so the beginning guitarist
might have a place to start. Barre chords, single-lines and thirds for
the statement of the melody are incorporated. In the second chorus
the guitarist changes to the chord-strumming mode.
@058 My Funny Valentine, was written by Rodgers and Hart in
1937. A very pretty ballad with a comical lyric (..."Is your figure
less
than Greek.....is your mouth a little weak...") it's been played by
every jazz musician at one time or another. This arrangement is very
chordal and straight-ahead.
@059 Shine On Harvest Moon, was written by T. Norworth. This
arrangement gives this "old chestnut" a full treatment---chord solo-
-improvisation--nice swingin' tempo.
@060 When the Saints Go Marching In, was written by
"Traditional" (whoever he is ?). Seriously, though, folks, somebody
had to write this well-known tune which was originally a Spiritual.
If you discover who wrote it, let us know!
@
Garry Hansen
|program "Jazz Guitarist"? Does anyone have a list of the songs that were
|available?
60 songs, with an emphasis on showtunes rather than bop. Lots of Gershwin,
Cole Porter, and even Tin Pan Alley. Oliver Gannon plays chord melody style
on most (and very very well, I might add). Someone has posted MIDIs of some
of the tunes at http://members.xoom.com/arnonschool/gtrmidi.htm