SJU Courses - Siena Jazz University

3rd Year Study Programme

Course: Jazz Guitar
Discipline: Performance approaches and
repertories
Instructor: Roberto Nannetti

Reading and repertory

Study of performance approach relative to composition and improvisation in the North American

and European jazz guitar tradition, in the Brazilian guitar tradition and in other significant ethnic
traditions (ex., tango); reading of significant compositions in the classical tradition (Bach).
Study of methodological or discographic productions and stylistic comparison between the great
performers and composers of the past and the present (ex., C. Christian, Django Reinhardt, Joe
Pass, Jim Hall, Pat Metheny, J. Scofield, Jobim, Baden Powell, Guinga, Pixinguinha,
Piazzolla, etc.); memorization of significant transcriptions either previously published or
expressly carried out by the student or by the instructor.
Development of techniques of melodic-harmonic memorization through the study of the 10+5
mandatory annual pieces. The first ten are part of the sedimentation common to all instrumental
courses and will be analyzed in their form toward a definition of the role of the instrument as a
soloist or as an accompanist.
Development of techniques of performance, interpretation, improvisation, creation and
elaboration of melodic notions, phrasing in style with the pieces in hand.
The list of the 5 characterizing pieces will be made up of compositions relative to the annual
thematic choices relative to reading and repertory for the instrument, at least three in chord
melody, (or in instrumental solo), to be indicated by the instructor at the beginning of the course.

List of the 10 Pieces (with examples of possible assignments personalized to the students)

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2
3
4
5
6
7
8
9
10

PIECES
Giant Steps (J. Coltrane)
Moments Notice (J. Coltrane)
Naima (J. Coltrane)
Round Midnight (T. Monk)
Blue in Green (M. Davis)
Chega de Saudade (T. Jobim)
Very Early
I Mean You
Lush Life
Infant Eyes

POSSIBLE ASSIGNMENTS
Study of Coltrane changes and transposition to other keys
Stylistic analysis, memorization of solo
Chord Melody
Chord melody (B. Galbraith)
Chord melody
Memorization, study of accomp. Brazilian rhythms
Memorization
Memorization
Memorization, study of J. Pass & Ella version
Memorization
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List of 5 Pieces (with examples of alternatives to be agreed upon)

PIECES
TYPE
1 Stella by Starlight, Jim Hall Trascr.
Solo

ALTERNATIVES
Days of Wine and Roses, Wes

TYPE ASSIGNMENT
Trascr. Transcription,
Solo
Performance on
original base

2 Lamentos do morro, Garoto Solo

Constance, Guinga
Danza Nera,
R.Nannetti
Giant Steps, Moments
Notice, Naima, Blues to You
Night Club 1960,
A. Piazzolla Um a Zero,
Pixinguinha

Solo

3 J. Coltrane*
4 Tetigi, tactum,
tangere R. Nannetti

Stylistic
analysis
Duo

5 Moto Perpetuo, N. Paganini Duo

Duo
Solo

Memorization,
Performance
Memorization of a
solo
Reading,
Performance
Memorization,
Performance

*Stylistic analysis dedicated to Coltrane represents a solo piece in the same sense as the stylistic
comparison of the previous years. For the exam, the preparation of 2 solo pieces (out of 4) and the
memorization of one solo are sufficient.

Rhythmic and melodic reading, and analysis of fingering

Development of knowledge and practice in reading of selected studies and in melodic and

rhythmic sight-reading with particular focus during the third year up to the twelfth position.
Readings in chord melody of standards, analysis and polyphonic treatment of the instrument
Studies for fingering, writing, reading and expression on the basis of compositions by J.S. Bach.
TEXTS

POSSIBLE ASSIGNMENTS

W.G. Leavitt, Melodic Rhythm for Guitars, Berklee Pub

Rereading in VII position

VII-XII position

W.G. Leavitt, Advanced Readings Studies for

Guitar, Berklee Pub
B. Galbraith, 42 Chord Melody Arrangements

C. Nelson, Pedancinhos do violao brasileiro,

Min. 4 readings to be agreed

J.S. Bach, Prelude, Suite II for Cello in g min., and

Courante, Suite III in G, or Prelude, Suite VI in D

To be agreed

Min. 4 readings to be agreed

Technique
Technique of the right hand, rhythmic language:
Development of the technique of alternate picking, and studies to increase the independence,
2

stamina and stretching of the right-hand fingers

Rhythmic accompaniment in fingerstyle for swing and for Latino; the function of the fingers of
the right hand. Studies on the most common rhythms (four, chop, Charleston, bossa nova,
samba, baiao, etc.) Applications in the pieces scheduled for the academic year
Exercises in the most common rhythmic figures, introduction to uneven tempos and to
polyrhythms toward the construction and development of melodic-rhythmic phrases.

1
2
3

TEXTS

TYPE

ASSIGNMENT

Ralph Towner, Improvisation and

performance Technique for classic and
acoustic guitar
A. Hanlon., Kreutzer for Guitar (pick
method)
Excerpts from
M. Pereira, Ritmos brasileiros para
violo

A d v a n c e d s t u d i e s
i n fingerstyle for the
right hand
Development picking

Collection of rhythms
for the right hand

Technique of the left hand, the language of scales and arpeggios:

Studies to build the independence, stamina and stretching of the left-hand fingers
Development of knowledge and performance practice of the major and melodic minor scales

along the full length of the fingerboard, 3 octaves when possible.

Development of knowledge and performance practice of all the arpeggios from triads to thirteenth
chords. Study of seventh chord inversions in all keys for the development of at least 2 octaves.
Completion of the study of intervals: jumps and scales (2 octaves when possible) in thirds,
fourths, fifths, sixths, sevenths, octaves, ninths, and tenths. Melodic and harmonic minor scales in
thirds and sixths.
Development of knowledge and performance practice of all arpeggios from thirds to
thirteenth chords. Study of long-form arpeggios (all the way to three octaves). Study of
the inversions of arpeggios in all keys.
TEXTS

1
2
3

A. Hanlon., Kreutzer for Guitar

(pick method)
R. Nannetti, Extended fingering for
scales and arpeggios, intervals and scales
B. Galbraith, The Fingerboard Workbook

TYPE

ASSIGNMENT

Harmonic language and accompaniment

Development of knowledge of voicing and of chord melody
Focus on Coltrane changes.
3

 Development of the study of harmonic-melodic continuity, guide lines, chord melody, block

chords.

Applications relative to functional harmony (degrees, harmonic patterns, II-V-I, turnarounds, etc.)

and modal, substitutions, upper structure

Development of transposition technique with accompaniment exercises on at least one piece (from
the 10+5) in all 12 keys.

TEXTS
TYPE
Howard Roberts, Guitar Manual Chord
Melody, Playback Publishing Company
Coltrane - A Players Guide to His
Harmony, W. Weiskopf and R. Ricker,
1991 J. Aebersold

1
2

ASSIGNMENT

General Bibliography 3rd Year

Methods and reading

W.G. Leavitt, Melodic Rhythm for Guitars, Berklee Pub

W.G. Leavitt, Readings Studies for Guitar, Berklee Pub
B. Galbraith, 42 Chord Melody Arrangements
Joe Pass, Joe Pass Guitar Style, Gwin Publishing
Mick Goodrick, Advancing Guitarist, Hal Leonard Books
M. Pereira, Ritmos brasileiros para violo
C. Nelson, Pedancinhos do violao brasileiro,
J.S. Bach, Six Suites for Solo Cello (transcription for guitar)

Technique
Ralph Towner, Improvisation and performance Technique for classic and acoustic guitar
A. Hanlon., Kreutzer for Guitar (pick method)
B. Galbraith, The Fingerboard Workbook
R. Nannetti, Extended fingering for scales and arpeggios, intervals and scales

Harmony
Howard Roberts, Guitar Manual Chord Melody, Playback Publishing Company
Coltrane - A Players Guide to His Harmony, W. Weiskopf and R. Ricker, 1991 J.Aebersold