Fundamentals of Guitar: A Workbook for Beginning, Intermediate or Advanced Students

Miles Okazaki

2015 ж. ақп. · Mel Bay Publications

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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.

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Miles Okazaki is an American musician based in New York City. He is known for his technical command of the guitar, his rhythmic approach to improvisation and composition, and his work in contemporary music theory. He became interested in music and learning guitar at age 6. When he was 12 years old, he first heard recordings of Charlie Christian, which opened the door to the study of improvisation, and music replaced visual arts as his main interest. His teacher on guitar at this time was Michael Townsend, and his studies in improvisation took place over five years at the Centrum Jazz Workshop, only a few blocks from his house. He began playing regular gigs at age 14, received many awards as a guitarist throughout his early years, and eventually placed 2nd in the Thelonious Monk International Guitar Competition. Okazaki moved to New York City in 1997 to pursue a career in music and begin writing his own material. His teacher on guitar at this time was Rodney Jones, who recommended him for his first gig, with Stanley Turrentine. Okazaki spent four years on the road with vocalist Jane Monheit, while also writing and rehearsing the music for his first album, Mirror, which was released independently. The album received a "Critics Pick" in the New York Times, calling it "a work of sustained collectivity as well as deep intricacy." This idea was taken to a higher level on his second album, Generations, described by pianist Vijay Iyer "the sonic equivalent of Escher or Borges, but with real emotional heft," and his third album, Figurations, was selected as one of the New York Times top ten albums of 2012, described by Ben Ratliff as "slowly evolving puzzles of brilliant jazz logic." Besides writing the material for these albums, Okazaki also acted as producer and illustrator. As a sideman, Okazaki works in many areas, ranging from Standard repertoire to experimental music. He has been touring internationally for 15 years with various groups, and is also a dedicated educator.