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Jazz guitar - Wikipedia, the free encyclopedia

Jazzguitar
FromWikipedia,thefreeencyclopedia

Thetermjazzguitarmayrefertoeitheratypeofguitarortothevariety
ofguitarplayingstylesusedinthevariousgenreswhicharecommonly
termed"jazz".Thejazztypeguitarwasbornasaresultofusingelectric
amplificationtoincreasethevolumeofconventionalacousticguitars.
Conceivedintheearly1930s,theelectricguitarbecameanecessityas
jazzmusicianssoughttoamplifytheirsoundtobeheardoverbigbands.
Arguably,noothermusicalinstrumenthadgreaterinfluenceonhow
musicevolvedsincethebeginningofthetwentiethcentury.Although
theearliestguitarsusedinjazzwereacousticandacousticguitarsare
stillsometimesusedinjazz,mostjazzguitaristssincethe1940shave
performedonanelectricallyamplifiedguitarorelectricguitar.
Traditionally,jazzelectricguitaristsuseanarchtopwitharelatively
broadhollowsoundbox,violinstylefholes,a"floatingbridge",anda
magneticpickup.Solidbodyguitars,massproducedsincetheearly
1950s,arealsoused.
Jazzguitarplayingstylesinclude"comping"withjazzchordvoicings
(andinsomecaseswalkingbasslines)and"blowing"(improvising)
overjazzchordprogressionswithjazzstylephrasingandornaments.
Compingreferstoplayingchordsunderneathasong'smelodyor
anothermusician'ssoloimprovisations.Whenjazzguitarplayers
improvise,theymayusethescales,modes,andarpeggiosassociated
withthechordsinatune'schordprogressionandelementsofthetune's
melody.

Hollowbodyelectricguitars
arequitecommoninjazzthe
GibsonES175isaclassic
example.Ithasbeenin
productioncontinuouslysince
1949.

Contents
1 History
1.1 1900mid1930s
1.2 Late1930s1960s
1.3 1970s
1.4 1980s2000s
2 Typesofguitars
2.1 Archtopguitars
2.2 Otherguitars
3 Musicalingredients
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3.1 Rhythm
3.2 Harmony
3.3 Melody
3.4 Improvisation
4 Playingstyles
4.1 Bigbandrhythm
4.2 Smallgroupcomping
4.3 Chordmelodyandunaccompaniedsoloing
4.4 "Blowing"orsinglenotesoloing
4.5 Chordsoloing
5 Seealso
6 References
7 Furtherreading
8 Externallinks

History
1900mid1930s
Thestringed,chordplayingrhythmbeheardingroupswhichincludedmilitarybandstyleinstruments
suchasbrass,saxes,clarinets,anddrums,suchasearlyjazzgroups.Astheacousticguitarbecamea
morepopularinstrumentintheearly20thcentury,guitarmakersbeganbuildinglouderguitarswhich
wouldbeusefulinawiderrangeofsettings.
TheGibsonL5,anacousticarchtopguitarwhichwasfirstproducedin1923,wasanearlyjazzstyle
guitarwhichwasusedbyearlyjazzguitaristssuchasEddieLang.Bythe1930s,theguitarbeganto
displacethebanjoastheprimarychordalrhythminstrumentinjazzmusic,becausetheguitarcouldbe
usedtovoicechordsofgreaterharmoniccomplexity,andithadasomewhatmoremutedtonethat
blendedwellwiththeuprightbass,which,bythistime,hadalmostcompletelyreplacedthetubaasthe
dominantbassinstrumentinjazzmusic.

Late1930s1960s
Duringthelate1930sandthroughthe1940stheheydayofbigbandjazzandswingmusictheguitar
wasanimportantrhythmsectioninstrument.Someguitarists,suchasFreddieGreenofCountBasies
band,developedaguitarspecificstyleofaccompaniment.Fewofthebigbands,however,featured
amplifiedguitarsolos,whichweredoneinsteadinthesmallcombocontext.Themostimportantjazz
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guitarsoloistsofthisperiodincludedtheManouchevirtuosoDjangoReinhardt,OscarMoorewhowas
featuredwithNatKingColestrio,andCharlieChristianofBennyGoodman'sbandandsextet,who
wasamajorinfluencedespitehisearlydeathat25.
Itwasnotuntilthelargescaleemergenceofsmallcombojazzin
thepostWWIIperiodthattheguitartookoffasaversatile
instrument,whichwasusedbothintherhythmsectionandasa
featuredmelodicinstrumentandsoloimproviser.Inthehandsof
GeorgeBarnes,KennyBurrell,HerbEllis,BarneyKessel,
JimmyRaney,andTalFarlow,whohadabsorbedthelanguage
ofbebop,theguitarbegantobeseenasaseriousjazz
instrument.ImprovedelectricguitarssuchasGibsonsES175
(releasedin1949),gaveplayersalargervarietyoftonaloptions.
Inthe1940sthroughthe1960s,playerssuchasWes
Montgomery,JoePass,andJimHalllaidthefoundationofwhat
isnowknownas"jazzguitar"playing.

1970s

DukeEllington'sbigbandhada
rhythmsectionthatincludedajazz
guitarist,adoublebassplayer,anda
drummer(notvisible).

Asjazzrockfusionemergedintheearly1970s,manyplayers
switchedtothemorerockorientedsolidbodyguitars.Otherjazzguitarists,likeGrantGreenandWes
Montgomery,turnedtoapplyingtheirskillstopoporientedstylesthatfusedjazzwithsoulandR&B,
suchassouljazzstyledorgantrios.Youngerjazzmusiciansrodethesurgeofelectricpopulargenres
suchasblues,rock,andfunktoreachnewaudiences.Guitaristsinthefusionrealmfusedthepostbop
harmonicandmelodiclanguageofmusicianssuchasJohnColtrane,McCoyTyner,OrnetteColeman,
andMilesDaviswithahardedged(andusuallyveryloud)rocktonecreatedbyiconicguitaristssuchas
Cream'sEricClaptonwho'dredefinedthesoundoftheguitarforthoseunfamiliarwiththeblackblues
playersofChicagoand,beforethat,theDeltaregionoftheMississippiuponwhomhisstylewasbased.
WithJohnMayall'sBluesbreakers,Claptonturnedupthevolumeonasoundalreadypioneeredby
BuddyGuy,FreddieKing,B.B.Kingandothersthatwasfluid,withheavyfingervibratos,string
bending,andspeedthroughpowerfulMarshallamplifiers.
FusionplayerssuchasJohnMcLaughlinadoptedthefluid,powerfulsoundofrockguitaristssuchas
ClaptonandJimiHendrix.McLaughlinwasamasterinnovator,incorporatinghardjazzwiththenew
soundsofClapton,Hendrix,Beckandothers.McLaughlinlaterformedtheMahavisnhuOrchestra,an
historicallyimportantfusionbandthatplayedtosoldoutvenuesintheearly1970sandasaresult,
producedanendlessprogenyoffusionguitarist.GuitaristssuchasPatMartino,AlDiMeola,Larry
Coryell,JohnAbercrombie,JohnScofieldandMikeStern(thelattertwobothalumnioftheMilesDavis
band)fashionedanewlanguagefortheguitarwhichintroducedjazztoanewgenerationoffans.Like
therockbluesiconsthatprecededthem,fusionguitaristsusuallyplayedtheirsolidbodyinstruments
throughstadiumrockstyleamplification,andsignalprocessing"effects"suchassimulateddistortion,
wahwah,octavesplitters,compression,andflangepedals.Inaddition,theyalsosimplyturneduptofull
volumeinordertocreatenaturaloverdrivesuchasthebluesrockplayers.

1980s2000s
Bytheearly1980s,theradicalexperimentsofearly1970serafusiongavewaytoamoreradiofriendly
soundsofsmoothjazz.GuitaristPatMethenymixedthesoundsofblues,country,andworldmusic,
alongwithrockandjazz,playingbothaflattopacousticguitarandanelectricguitarwithasofter,more
mellowtonewhichwassweetenedwithashimmeringeffectknownaschorusing".Duringthe1980s,a
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neotraditionalschoolofjazzsoughttoreconnectwiththepast.Inkeepingwithsuchanaesthetic,young
guitaristsofthiserasoughtacleanandroundtone,andtheyoftenplayedtraditionalhollowbodyarch
topguitarswithoutelectroniceffects,frequentlythroughvacuumtubeamplifiers.
AsplayerssuchasBobbyBroom,PeterBernstein,HowardAlden,RussellMalone,andMarkWhitfield
revivedthesoundsoftraditionaljazzguitar,therewasalsoaresurgenceofarchtopluthierie(guitar
making).Bytheearly1990smanysmallindependentluthiersbeganmakingarchtopguitars.Inthe
2000s,jazzguitarplayingcontinuestochange.SomeguitaristsincorporateaLatinjazzinfluence,acid
jazzstyledanceclubmusicusessamplesfromWesMontgomery,andguitaristssuchasBillFrisell
continuetodefycategorization.

Typesofguitars
Archtopguitars
Whilejazzcanbeplayedonanytypeofguitar,fromanacousticinstrument
toasolidbodiedelectricguitarsuchasaFenderStratocaster,thefulldepth
archtopguitarhasbecomeknownastheprototypical"jazzguitar."Archtop
guitarsaresteelstringacousticguitarswithabigsoundbox,archedtop,
violinstylefholes,a"floatingbridge"andmagneticorpiezoelectric
pickups.EarlymakersofjazzguitarsincludedGibson,Epiphone,
D'AngelicoandStromberg.Theelectricguitarispluggedintoaguitar
amplifiertomakeitsoundloudenoughforperformance.Guitaramplifiers
haveequalizercontrolsthatallowtheguitaristtochangethetoneofthe
instrument,byemphasizingordeemphasizingcertainfrequencybands.The
useofreverbeffects,whichareoftenincludedinguitaramplifiers,haslong
beenpartofthejazzguitarsound.Particularlysincethe1970sjazzfusion
era,somejazzguitaristshavealsousedeffectspedalssuchasoverdrive
pedals,choruspedalsandwahpedals.
Theearliestguitarsusedinjazzwereacoustic,latersupersededbyatypical
electricconfigurationoftwohumbuckingpickups.Inthe1990s,therewasa
resurgenceofinterestamongjazzguitaristsinacousticarchtopguitarswith
floatingpickups.

Ahollowbodied
Epiphoneguitarwith
violinstyle"F"holes.

Theoriginalacousticarchtopguitarsweredesignedtoenhancevolume:for
thatreasontheywereconstructedforusewithrelativelyheavyguitarstrings.Evenafterelectrification
becamethenorm,jazzguitaristscontinuedtofitstringsof0.012"gaugeorheavierforreasonsoftone,
andalsopreferflatwoundstrings.
Thecharacteristicarchedtopcanbemadeofasolidpieceofwoodthatiscarvedintothearchedshape,
orapieceoflaminatedwood(essentiallyatypeofplywood)thatispressedintoshape.Spruceisoften
usedfortops,andmapleforbacks.
Archtopguitarscanbemassproduced,suchastheIbanezArtcoreseries,orhandmadebyluthierssuch
asRobertBenedetto.

Otherguitars
TheSelmerMaccaferriguitarisstronglyassociatedwithDjangoReinhardtandgypsyswing.
Theresonatorguitarwasused(butnotexclusively)byOscarAleman.
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NylonstringguitarsareassociatedwithLatinjazz,forinstanceintheworkofCharlieByrdand
LaurindoAlmeida.
Flattopsteelstringguitars(particularlyOvationguitars)havebeenusedinthe"acoustic
shredding"ofJohnMcLaughlin,LarryCoryellandAlDiMeola.
SolidbodyelectricguitarshavebeenusedinJazzrock,forinstancebyBillFrisellandStanley
Jordan.Thetelecasterinparticularhasajazzfollowing,e.g.EdBickertandTedGreene.
Synthesizerguitarsinjazzrockandavantgardejazz,e.g.byAllanHoldsworthandPatMetheny.
SevenstringguitarsbyGeorgevanEps,LennyBreau,BuckyPizzarelliandHowardAlden.
EightstringguitarsbyRalphPatt.[1]

Musicalingredients
Rhythm
Jazzrhythmguitaroftenconsistsofverytextural,oddmeterplayingthatincludesgeneroususeof
exotic,difficulttofretchords.In4/4timing,itiscommontoplay2.5beatintervalssuchasonthe2and
thenthehalfbeator"and"after4.Jazzguitaristsmayplaychords"ahead"ofthebeat,byplayingthe
chordaswungeighthnotebeforetheactualchordchange.Chordsarenotgenerallyplayedina
repetitiverhythmicfashion,likearockrhythmguitaristwouldplay.

Harmony
Jazzguitaristsusetheirknowledgeofharmonyandjazztheorytocreatejazzchord"voicings,"which
emphasizethe3rdand7thnotesofthechord.Somemoresophisticatedchordvoicingsalsoincludethe
9th,11th,and13thnotesofthechord.Insomemodernjazzstyles,dominant7thchordsinatunemay
containaltered9ths(eitherflattenedbyasemitone,whichiscalleda"flat9th",orsharpenedbya
semitone,whichiscalleda"sharp9th")11ths(sharpenedbyasemitone,whichiscalleda"sharp
11th")13ths(typicallyflattenedbyasemitone,whichiscalleda"flat13th").
Jazzguitaristsneedtolearnaboutarangeofdifferentchords,includingmajor7th,major6th,minor7th,
minor/major7th,dominant7th,diminished,halfdiminished,andaugmentedchords.Aswell,theyneed
tolearnaboutchordtransformations(e.g.,alteredchords,suchas"altdominantchords"described
above),chordsubstitutions,andreharmonizationtechniques.Somejazzguitaristsusetheirknowledge
ofjazzscalesandchordstoprovideawalkingbassstyleaccompaniment.
Jazzguitaristslearntoperformthesechordsovertherangeofdifferentchordprogressionsusedinjazz,
suchastheubiquitousiiVIprogression,thejazzstylebluesprogression(which,incontrasttoablues
style12barprogression,mayhavetwoormorechordchangesperbar)theminorjazzstylebluesform,
theIviiiVbased"rhythmchanges"progression,andthevarietyofmodulationrichchordprogressions
usedinjazzballads,andjazzstandards.Guitaristsmayalsolearntousethechordtypes,strumming
styles,andeffectspedals(e.g.,choruseffectorfuzzbox)usedin1970serajazzLatin,jazzfunk,and
jazzrockfusionmusic.

Melody
Jazzguitaristsintegratethebasicbuildingblocksofscalesandarpeggiopatternsintobalancedrhythmic
andmelodicphrasesthatmakeupacohesivesolo.Jazzguitaristsoftentrytoimbuetheirmelodic
phrasingwiththesenseofnaturalbreathingandlegatophrasingusedbyhornplayerssuchassaxophone
players.Aswell,ajazzguitarists'soloimprovisationshavetohavearhythmicdriveand"timefeel"that
createsasenseof"swing"and"groove."Themostexperiencedjazzguitaristslearntoplaywithdifferent
"timefeels"suchasplaying"aheadofthebeat"or"behindthebeat,"tocreateorreleasetension.
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Anotheraspectofthejazzguitarstyleistheuseofstylisticallyappropriateornaments,suchasgrace
notes,slides,andmutednotes.Eachsubgenreoreraofjazzhasdifferentornamentsthatarepartofthe
styleofthatsubgenreorera.Jazzguitaristsusuallylearntheappropriateornamentingstylesbylistening
toprominentrecordingsfromagivenstyleorjazzera.Somejazzguitaristsalsoborrowornamentation
techniquesfromotherjazzinstruments,suchasWesMontgomery'sborrowingofplayingmelodiesin
paralleloctaves,whichisajazzpianotechnique.Jazzguitaristsalsohavetolearnhowtoaddinpassing
tones,use"guidetones"andchordtonesfromthechordprogressiontostructuretheirimprovisations.
Inthe1970sand1980s,withjazzrockfusionguitarplaying,jazzguitaristsincorporatedrockguitar
soloingapproaches,suchasriffbasedsoloingandusageofpentatonicandbluesscalepatterns.Some
guitaristsusedJimiHendrixinfluenceddistortionandwahwaheffectstogetasustained,heavytone,or
evenusedrapidfireguitarshreddingtechniques,suchastappingandtremolobarbending.GuitaristAl
DiMeola,whostartedhiscareerwithReturntoForeverin1974,wasoneofthefirstguitariststo
performina"shred"style,atechniquelaterusedinrockandheavymetalplaying.DiMeolaused
alternatepickingtoperformveryrapidsequencesofnotesinhissolos.

Improvisation
Whenjazzguitarplayersimprovise,theyusethescales,modes,andarpeggiosassociatedwiththe
chordsinatune'schordprogression.Theapproachtoimprovisinghaschangedsincetheearliesterasof
jazzguitar.DuringtheSwingera,manysoloistsimprovised"byear"byembellishingthemelodywith
ornamentsandpassingnotes.However,duringthebebopera,therapidtempoandcomplicatedchord
progressionsmadeitincreasinglyhardertoplay"byear."Alongwithotherimprovisers,suchassaxes
andpianoplayers,beboperajazzguitaristsbegantoimproviseoverthechordchangesusingscales
(wholetonescale,chromaticscale,etc.)andarpeggios.[2]Jazzguitarplayerstendtoimprovisearound
chord/scalerelationships,ratherthanreworkingthemelody,possiblyduetotheirfamiliaritywithchords
resultingfromtheircompingrole.Asourceofmelodicideasforimprovisationistranscribing
improvisedsolosfromrecordings.Thisprovidesjazzguitaristswithasourceof"licks",melodicphrases
andideastheyincorporateeitherintactorinvariations,andisanestablishedwayoflearningfromthe
previousgenerationsofplayers.

Playingstyles
Bigbandrhythm
Injazzbigbands,popularduringthe1930sand1940s,theguitaristisconsideredanintegralpartofthe
rhythmsection(guitar,drumsandbass).Theyusuallyplayedaregularfourstrumstothebar,although
anamountofharmonicimprovisationispossible.FreddieGreen,guitaristintheCountBasieorchestra,
wasanotedexponentthisstyle.Theharmoniesareoftenminimalforinstance,therootnoteisoften
omittedontheassumptionthatitwillbesuppliedbythebassist.

Smallgroupcomping
Whenjazzguitaristsplaychordsunderneathasong'smelodyoranothermusician'ssoloimprovisations,
itiscalled"comping",shortfor"accompanying"andfor"complementing".Theaccompanyingstylein
mostjazzstylesdiffersfromthewaychordalinstrumentsaccompanyinmanypopularstylesofmusic.
Inmanypopularstylesofmusic,suchasrockandpop,therhythmguitaristusuallyperformsthechords
inrhythmicfashionwhichsetsoutthebeatorgrooveofatune.Incontrast,inmanymodernjazzstyles

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withinsmaller,theguitaristplaysmuchmoresparsely,interminglingperiodicchordsanddelicate
voicingsintopausesinthemelodyorsolo,andusingperiodsofsilence.Jazzguitaristscommonlyusea
widevarietyofinversionswhencomping,ratherthanonlyusingstandardvoicings.[3]

Chordmelodyandunaccompaniedsoloing
Inthisstyle,theguitaristaimstorenderanentiresongharmony,melodyandbassinsomething
likethewayaclassicalguitaristorpianistcan.Chordrootscannotbelefttothebassistinthisstyle.
Chordsthemselvescanbeusedsparselyormoredensely,dependingonboththeindividualplayerand
hisorherarrangementofaparticularpiece.Inthesparsestyle,afullchordisoftenplayedonlyatthe
beginningofamelodicphrase.Thedenserchordaltextures,incontrast,approachchordsoloing(see
below).Athirdapproachistomaintainasteady,busybassline,likeaNewOrleanspianist.Here,no
morethantwoorthreenotesareplayedatatime,andthefullharmonyisindicatedbyarpeggiation.
Exponentsofthisstyleoftencomefromacountry,folkorragtimebackground,suchasChetAtkins,
althoughitisalsosometimesemployedbystraightaheadjazzpractitioners,forinstanceMartinTaylor.
Chordmelodyisoftenplayedwithaplectrum(seeTalFarlow,GeorgeBensonandothers)whereas
fingerstyle,aspractisedbyJoePass,GeorgevanEps,TedGreene,RobertConti,LennyBreauorhybrid
pickingaspractisedbyEdBickert,LaszloSirsomandothersallowsforamorecomplex,polyphonic
approachtounaccompaniedsoloing.

"Blowing"orsinglenotesoloing
CharlieChristianandDjangoReinhardtaregenerallyheldtohaveinitiatedtheuseoftheguitartoplay
melodiesandimprovisationsoverotherinstruments,theformerusinganearlyformofamplification,the
latterplayingforcefullyonanacousticguitar.Overtheyears,jazzguitaristshavebeenabletosoloin
standardjazzidioms,suchasbebop,cooljazzandsoon,whileinalsoabsorbinginfluencesfromrock
guitarists,suchastheuseofelectroniceffects.

Chordsoloing
Jazzguitaristsarenotlimitedtosinglenoteimprovisation.Whenworkingwithaccompaniment,chord
solosarecreatedbyimprovisingchords(harmony)andmelodysimultaneously,usuallyintheupper
registeronstrings1,2,3and4.WesMontgomerywasnotedforplayingsuccessivechorusesinsingle
notes,thenoctavesandfinallyachordsolothiscanbeheardinhisimprovisationonthestandard
LoverMan(Oh,WhereCanYouBe?).Whenplayingwithoutaccompaniment,jazzguitaristsmay
createchordsolosbyplayingbass,melodyandchords,individuallyorsimultaneously,onanyorall
stringssuchastheworkofLennyBreau,JoePass,MartinTaylorandothers.Thistechniquecanbe
alsobeincorporatedintounaccompaniedsoloing:forinstanceDjangoReinhardt's"improvisations",as
hecalledhissolopieces.

Seealso
Listofjazzguitarists
Jazzguitarists
Swing(jazzperformancestyle)
Jazzbass

References
1. Peterson(2002,p.37):Peterson,Jonathon(Winter2002)."Tuninginthirds:Anewapproachtoplayingleads
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toanewkindofguitar".AmericanLutherie:TheQuarterlyJournaloftheGuildofAmericanLuthiers(8222
SouthParkAvenue,TacomaWA98408:USA.:TheGuildofAmericanLuthiers)72:3643.ISSN1041
7176.Retrieved9October2012.
2. Jazzology:TheEncyclopediaofJazzTheoryforAllMusicians,byRobertRawlins,NorEddineBahha,
BarrettTagliarino.HalLeonardCorporation,2005ISBN0634086782,ISBN9780634086786.Page
141
3. http://eden.rutgers.edu/~pfelton/inversions.html

Jan,FernandoAlonso(Dateunknown).TheArchtopJazzGuitar
http://www.acousticfingerstyle.com/ArchtopGuitars.htm
Wilson,Gerald(2005).Personalinterviewwiththeauthor.
Yanow,Scott(Dateunknown).WyntonMarsalis.AllMusicGuide.
http://www.allmusic.com/artist/p102096
Yanow,Scott(Dateunknown).PatMetheny.AllMusicGuide.
http://www.allmusic.com/artist/p7121

Furtherreading
TheGuitar,in:JoachimErnstBerendtTheJazzBook,LawrenceHill&Company,NewYork
R.,Ken(2012).DOGEARTritoneSubstitutionforJazzGuitar,AmazonDigitalServices,Inc.,
ASIN:B008FRWNIW

Externallinks
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