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Canlenls Inlraduclian
. The purpose of this hook is to provide jazz-
MuslcalSymbols 2
onente
. d slg . matena. 1L""
. ht-rea dmg lor gultansts at an
A Few Words About Sight-Reading . . . . . . . . . . 3 intermediate level. The exercises are written
using common jazz-style phrases and are
The"Jazz"Feel 3 . d d b ld .th ". "
mten e to e p aye WI a jazz or
.
U smga Metronpme 3 ".swIng"~ee.1

Using the CO .. . . . . . . . . ',' . . . . . . . . . . . . . . . . 3 The music is presented in four sections.The first

. section is a series of blues etudes intended to
Sectlon1:BluesE!udes 4 hle p you L"laml.1lanze
.' . hd lierent
yourse lf Wit ' fi1"

About JazzRhythms. . . . . . . . . . . . . . . . . . . . . . 12 positionson the guitar.The secondsection

" consists of jazz rhythm studies. The third
Sectlon2:RhythmStudles 14 f d .
sectlon IS asenes 0 etu es m t he sty 1e 0 f L"
."
lamous
\Section 3: Etudes Basedon JazzStandards . . . 20 jazz tunes, such asAII theThingsYouAre and Stella
. byStarlight.The final section is a seriesof duets;
Sectlon 4: Ouets . . . . . . . . . . . . . . . . . . . . . . . . .32 . h 1 f 1 .
same are In t e sty e 0 popu ar jazz st and ard s
and some are my own original compositions.
Bia I hope you enjoy the music. Many hooks on the

Guitarist/composer Adam Levy is a native of subject of reading a~efull of black dors, b~t don't
L A 1 h h tt d d th O. k G have much to offer m the way of real mus IC. It
os nge es, w ere e a en e e IC rave .
. .. was my goal in writing this hook to provIde
School of Muslc and studled wlth Ted Greene. He d
stu ents Wit
.h
muslc
.
t
h .
at IS f un to p 1ay, as we 11 as
spent the early 1990s making a name for himself in challenging.

SanFrancisco,teachingat the Blue BèarSchoolof

r
i Music" and performing with same
..
ofthe Bay Area's One final
able to nare:
play our goal
a piece in sight-reading
of music with little orisno
to be
most mterestmggroups. Thls ultlmately led to .
preparatlon. If you mak e mlsta
. k es, try p1aymg
. at
. "
tounng and performmg wlth Tracy Chapman,who a slower tempo, but do not stop in the middle to
featured Levy on her Grammy Award-winning practice a difficuit passage.Finish playing the
song"Give Me One Reason." Respecte9asa piece. Dur motto is "forward ever, backward
teacherasweIl asa performer,Levy is a regular " "
faculty member at the National Guitar Summer ~"
Workshopand bascontributed severalinstructional
articlesto GuitarPlayerMagazine. He presently ,
I
lives in New YackCi~- ' :~-,

Coverphotos:jeff Oshiro

~
~.JJ Copyright @MCMXCVII by Alfred Publishing Co., Inc.
All rights reserved. Printed in USA. ,
 z
Musical SymhDls used in Ibis hook.

;11 Go back to the beginning and play again.

11; I I ;11 Go back to the repeat sign and play again.

Firsttimeonly Second
timeonly ..
11. 112. Play lst endmg first tIme, repeat to
..1-- 'I I. .11 the beginning, then skip lst ending
I I I ï1 and play Znd ending.

D. C. al Fine Go back to the beginning and end at Fine.

D. C. al Coda Go back to the beginning and play to the coda sign (-$r), then skip to the Coda
to end the piece.

j.

Dlher Musical SymhDlsYDUare likely ID see in music YDUwin play.

D. S.al Fine Go backto the sign(~) andend at Fine.

D. S.al Coda Gobackto the sign(~) andplayto thecodasign(-$r), then skip to the Coda
to end the piece.

I "* I Repeat thep!evious measure.

c-
.
\'r .
;.

2 "
I
I ;":f'. I Repeat the previous'rnro measures.
 3

A Few Words About Sight-Reading rou must not stop. This may mean playing at a
slower tempo until your ability to sight-read

When students ask me what they should do to improves.

develop their reading skilis, my answer is always

the same: Read. Like any other area of skill, there Remember, the best war to become a better

aren't too many "secrets," just real practice. That reader is to lead. So, what are rou waiting foT?

being said, I do want to mentiQn a few things that Dust off your music stand and your metronome,

will help rou to get the most out of this hook and and let's go foT it.

any other reading material.

The fiTst Tule is to look ahead. Just as when you're Th "Jazz" Feel e

driving a cal, rou wouldn't daTe to think of only Almost all of the music in this hook is intended to

looking at the ten feet of asphalt rou happen to be be played with a "jazz" feel. This means that two

on at the moment. You look out in front of rou, as consecutive eighth notes should sound more like

faT as rou can see, in order to be prepared foT any the fiTst and third notes of an eighth-note triplet.

obstacles that may be coming your war. This gives the music a "swing" feel. The

, exceptions to this are the duets "Dolphins on

You can
,
also improve
.,'
your reading skilis by
G
Teen treet, ymn- 1 e an enny. S " " H lk " ' d "K D"
learnmg to memonze. Try thlS: Look at the fiTst Th h ld b 1 d
ese s ou ep are as wntten, Wlth even
' '

"
measure of a plece of mUSlC and then look away or . h h '" h ' h h "
elg t notes or stralg telg t s.
close your eyes and play what rou can remember.
With practice, rou can memorize two, fouT, eight .
or more measures. This is a skill that rou must Uslng a Metroname

developin orderto maximizeyour readingability. Wh ' , d" , .

' en practlcmg rea mg, lt s lmportan t t 0 use a
It will allow rou to look even farther ahead m the

d.
metronome to h ep 1 rou to k eep a stea d y t empo.
music and it will allow rou to look at other Th '" 1 1 " ' h
, , , IS IS partlcu ar y Important m Slg t-rea fig.
people-the audlence, the other mUSlClans,the
conductor-while rou are playing. Many jazz players like to practice with their
metronome clicking only the off-beats. In other
Sometimes rou can use "games" to help keep your ds, 1' f rou ' re , , ' f '
" " ,wor practlcmg a plece 0 mUSlC at 100
practlce tIme fun and mterestlng. One game IS to b '
take a piece of music and play every other measure
eats
.
per mmute,
d h'
set

k
your

f h
metronome

I ' k " 2 "

t 0 50

d
b ea

" 4
t s

"
, , per mmute an t mot e c IC s as an
(play the fiTst measure, then Jump to the thlrd 11 ' , h" 1 l '
' ry practlcmg somet mg SImp e, 1 k e a sca 1 e. Aft er

t hat becomes comlorta

measure, then the fifth, etc.). ThlS forces rou to
bI 1
' , . L"
e, try p aymg some 0f th e
'

use your penpheralvlslon and look even farther

r yt m stu les m t IS b00k .
h h d " h '

'
ahead. Get creatlve-read every other measure,

then try every third or fourth measure. You could U' th CD

even try reading down the page vertically. In other sing e

words, play the fiTst measure of the fiTst staff, then A CD is available demonstrating all the music in

the fiTst measure of the second staff, etc. When this 'hook. The track numbers on the CD

rou get [0 the bottom rou can go back to the top correspond with the track numbers listed

and lead the down the second measure ofeach throughout the hook. For the Etudes Based on

staff, then the third measure of each staff, and so Jazz Standards section, the guitar part can be

on. tuned out by using the balance con trol, enabling

rou to play along with the rhythm section. For the

Perhaps the most important thing to keep in mind Duets section, rou can tune out either guitar part

when practicing sight-reading is to not stop. If rou allowing rou to play either part with the CD. Be

hit a wrong note, just keep going. This will take a sure rou have practiced the music before listening

lot of concentration, as rou will probably be to the demonstrations on the CD.

tempted to stop and fix your mis takes. That's fine

when you're working on a piece of music foT a I Inlroduclian

Inlroduclion Bod
and Tuning
Tuning ~ rml
TRICK] I

performance, but when rou 're practicing reading

L- -
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 13

Another rhythm used frequently in jazz is the eighth-quarter-eighth.

It looks like this:

~t ~ ~ ~- I1

Here is a common variation on the above rhythm:

I! ~t ~- '/ ~ - I1

Remember, the point of studying these examples
i is to familiarize yourselfwith the most common
i jazz rhythms. Just aswhen leaming to read the
English languagein school, you fiTsthad to leam
the sound of each letter of the alphabet, then you
leamed simple words, like "cat" and "go."
Eventually you progressedto harder words, then
sentences,paragraphs,etc. Now you don't have to
sound out each word. You can look at a sentence
and graspits meaning as a whole. OUTgoal in sight-
reading is much the same.If you can look at a
piece of music and recognize familiar pattems, you
won't have to sound out each and every rhythm
("one, two-AND, three...") and will be able to read
complex rhythmic phraseswith ease.
Now let's look at two consecutive eighth notes.
The following is a seriesof one-measurephrases .
using two eighth notes starting on each possible
beat. Repeat each measureas many times asyou
like, then move on to the next measure.When you
are comfortable with all of the rhythms, try playing
the measuresin reverseorder or skipping around
froll1 measureto measure.

;i 411;
~ - -
411. ~
~
~
- .11
"11
t jij:411. -
~ .~ . ~
f'
:11
"11

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"11
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 , 15

Rhythm Sludy # 3 ~ TRR[118

This study showsjust how much you cao do with ODerhythm, in this casethe dotted quarter.
Try this study with an even eighth-note bossanova feel.
,
i
i
J
'.
r 1 J=70-132
i ~ i ~L F ~-F F ~F F - ~'F' I F" ~,-F F -IF F-~ F' I

.~ ~I. F" ~- ~ F" I F F -~" F" Î F" t F F ~F F F - j

~ -F ~ I. F -~. F I F F F ~ F - '~ F. I F" ~"F F" ~ 'I

~; ~L -e - I F F - 1-F F - - 1- F Fe ~ I1

RhythmSludy #4 ~ TRR[119

Composed of three five-measure phrases, this study seems to turn the beat around.
If you get lost, try counting out loud.

J
i
I

~ .~ t J ~12; =~ ~ 'I *~. I ~ ;-~ 'I j: ~ I"' j: ~ ;;": ~ j:

.~~. .~. ~ ;-~ I 'I j~. 'lil';-~ 'I .;i~ 'I :i~; I ~ j-] 'I :i~; ~ I

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91
 Î 17

Rhythm Stud, #7 ~ TAA[K]2

!ct Here the challenge is quarter-note tripletS. There are also a couple of half-note tripletS.
I Make surenot to rush these.

J=80-112

~ ~II. F" ~. aF" ~ ~ r -F ~~ I ä~. ~~~ ~.~~. I

L--3

~ ~ 1'1, ~ Q F. - F. ~ ~ -- Fini ~ - F ~ I - F ~ F, I

L--3~

L--3--1 L--3~

Rhythm Stud, # 8 ~ TAA[K]]

Again, the challenge here is triplets, but this study bas more rests than Rhythm Study #7.
Sometimes rests are the hardest part of sight-reading.

J =80-112

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 i
4 19
I

Rhyihm Stud, #11 ~TRR[K36

This study startswith a six-note phraseand then movesit around. See how it repeatsthroughout the first
eight measures?It's trickier than it looks.

~ = 90-140

] ~ ~ .,ä S ~! 11'::-; ~ I ~- ~.~. 1- Q-I

(

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Rhythm Stud, #12 ~TRR[K37

Study #12 introduces eighth-note triplets.

~ = 80-130 A

~ ~1 ~ ~ ~S~. 1 ~~ r;;;~ - I ~ ~ ~S~.

10 Coda v

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 of 21

J . ~IRR[l39
aneslng ~

MediumswingJ=90-120 (In the style of "Have You Met Miss Jones")

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 23

Rhylhm ~rRRrK41

Bright jazz feel ~ = 120-168 (In the style of "I Got Rhythm")

: .i; ~L t ~ ~j ~ I~ F :- I~ ~ ~ I

~ ~I.~~ IF I.~ II~ ~ ~ ~.I IF F a;;;

: ~ ~I. - ~ ~ ;~1~ ~;! - ': ~ ;~ ;-; - 11

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25

Harlem Express ~ TRlK43

Bright swing feel ~ = 140-168 (In the style of "Take the A Train")

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L 92
 T
27

I Like Ihs SUft ~IRH[K45

.-
I
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1
',,4 Brightly J= 132-160 (In the style of "Solar")

~ 'I ~ ~ :-. ~ I 1:-~- ~ I -, ~. ~ml

,l ~ 'I :-~ B- I -. ~ . - I" ~ Ë ~- ~ - I

I
i

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Althea ~IR[K47

. Medium swing J=112-132 (In thestyleof "AII theThingsYou Are")

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 ) 31

Indiana Ticket ~IRR[K4!

. Medium swing ~ =112-132 (In the style of "Donna Lee")

iI

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::'-::: ~- I

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Moderately, with a Blues feeling

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