SJU Courses - Siena Jazz University

1st 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 10 Pieces (with examples of possible assignments)

1
2
3
4
5
6
7

PIECES
All Blues
All The Things You Are
Autumn Leaves
Blue Monk

In a Sentimental Mood
Summertime
On Green Dolphin
Street
8 Recordame
9 So What
10 Someday My Prince
Will Come

POSSIBLE ASSIGNMENTS
Theme & Comp
Chord melody
Stylistic comparison Pass and Hall, transcription of Chet Baker
solo*
Transposition
in all 12 keys. Analysis Pass solo. Comp J.
Pass, Galbraith
Galbraith Chord melody
Theme & Comp
Chord melody
Theme & Comp
Modal Vamp, long-form scale
Whats New

List of 5 Pieces (with examples of alternatives to be agreed upon)

PIECES
1 Blues Intro (Joe Pass)
2 Chara (Baden Powell)
3 Autumn Leaves
4 Libertango (Astor
Piazzolla)
5 Choro do Adeus
(Almeida)

TYPE
Solo
Solo
Solo
or acc

ALTERNATIVES
Joe Blues (Joe Pass)
Bright Size Life (Pat Metheny)
Insensatez (Jobim), Triste (Jobim)

ASSIGNMENT
Solo or performance
on original base
Fingerstyle
originale
Stylistic comparison

Invierno Porteno (Piazzolla),

Palhao (Gismonti),
Apanhei te, cavaquinho
(E. Nazareth)

Improv

Duo
Duo

Duo chorus

*Stylistic comparisons or particular studies (beyond mere memorization) of pieces chosen from
among the first 10 obligatory pieces are considered characterizing and therefore may, with the
previous consent of the instructor, make up part of the second list of 5 pieces.

Rhythmic and melodic reading

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

rhythmic sight-reading with particular focus during the first year from the first to the third
position.
Development of interpretation of performance: interpretation of octaves in swing and of even
eights in Latin.

TEXTS
1 W.G. Leavitt, Melodic Rhythm for
Guitars, Berklee Pub
2 W.G. Leavitt, Reading Studies for Guitar
3 Roberto M. Mourra, O Melhor do
Choro Brasileiro, Irmaos Vitale
4 J.S. Bach, Selected pieces

TYPE
Swing rhythmic-melodic
reading

Even eights rhythmicmelodic reading

Classical rhythmicmelodic reading

OBJECTIVES
From 1 to 20
I-III position
Min. 4 readings
to be agreed upon
Min. 4 readings

Technique
Technique of the right hand, rhythmic language:
Development of the technique of alternate picking, and studies to increase the independence,
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 in order to build toward the construction and development of melodic-rhythmic
phrases.

TEXTS
1 R.D. Hoover, Right Hand
Development for Jazz Guitar
2 R. Nannetti, Tecnica della mano
destra, SienaJazz
3 Giuliani, 120 formule per la mano
destra
4 L. Brower, Estudios sencillos
5 W.G. Leavitt, Rhythm Guitar, The
Right Hand, excerpts vol.2 (A Modern
Method for Guitar)

TYPE
Method of technique

OBJECTIVES
Study of picking

Method of technique
Method of technique

Study of picking
and fingerstyle
Independence, etc.

Method of technique
Excerpts of technique
rhythmic culture for
combo or orchestral

I-III
Study of most
common picking
rhythms

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 connecting on the fingerboard the
major and melodic minor scales as presented in W. Leavitt, vol.2 (or in L. Powers),
Development of knowledge and performance practice of all the modal scales (derived from the
major scale), in the development of at least two octaves. From the derivative to the parallel
approach.
Study of scales with three sounds per string (7 fingerings following the modes)
Development of knowledge and performance practice of triad arpeggios and of all
seventh chords in all the inversions and in all keys for the development of at least 2
octaves
Development of knowledge and performance practice of all intervals in a melodic and
harmonic sense up to the thirteenth, according to models studied: jumps and scales in thirds.

1
2
3
4

TEXTS
W.G. Leavitt, A Modern Method
for Guitar, Vol.2, Berklee Pub
L. Powers, The Scale Book,
PMP Belwin-Mills
R. Nannetti, Tecnica della
mano sinistra, SienaJazz
Don Mock, Artful Arpeggios,
Hal Leonard Pub

TYPE
General
method
Compendium
of scales
Method of
technique
Compendium
o f arpeggios

OBJECTIVES
Study of major and minor scales
in position and their connection
Extension
study of scales
connconnectionollegamenti
Study of intervals and scales in
intervals of a third
Study of arpeggios for
triads and quadriads

Harmonic language and accompaniment

Development of knowledge and performance practice of 3- and 4-part voicings, close parts and

open parts, starting with the 5 models (CAGED). Study of relative drops most used in various
contexts (jazz, Latin).
Development of harmonizations of the scales studied, in position and along the fingerboard.
From the concept of scalable position to the movement of the parts, creative voicing.
Introduction to harmonic-melodic continuity, guide lines, chord melody, block chords.
Applications relative to functional harmony (degrees, harmonic patterns, II-V-I, turnarounds,
etc.) with exercises in transposing accompaniment (blues and at least one piece in all 12 keys).

 Introduction to accompaniment in walking bass style: development of 3-part voicings.

Application in blues and for the accompaniment of the pieces in the programme

1
2
3
4

TEXTS
Joe Pass, Joe Pass Guitar Chords,
Gwin Publishing
Joe Pass, Chord Encounters For Guitar
Jim Ferguson, All Blues for Jazz
guitar, comping styles, chords & grooves
R. Nannetti, Drop Lessons & Visualization

TYPE
Compendium
of chords
Blues
Blues
Handouts

OBJECTIVES
Memorization and use of
voicings

Develop voicing and

melodic-harmonic continuity
Introduction to voicing

General Bibliography 1st Year

Methods and reading

W.G. Leavitt, A Modern Method for Guitar, Vol.2, Berklee Pub

W.G. Leavitt, Melodic Rhythm for Guitars, Berklee Pub
W.G. Leavitt, Reading Studies for Guitar
Joe Pass, Joe Pass Guitar Style, Gwin Publishing
J.S. Bach, serie di studi semplici scelti
Jobim, Jobim on Guitar
Roberto M. Mourra, O Melhor do Choro Brasileiro, Irmaos Vitale
Joe Pass, Joe Pass On Guitar, CPP Media Group (video+book)

Technique

L. Powers, The Scale Book, PMP Belwin-Mills

Don Mock, Artful Arpeggios, Hal Leonard Pub
R.D. Hoover, Right Hand Development for Jazz Guitar
Giuliani, 120 formule per la mano destra
L. Brower, Estudios Sencillos
R. Nannetti, Tecnica della mano sinistra, SienaJazz
R. Nannetti, Tecnica della mano destra, SienaJazz

Harmony

Joe Pass, Joe Pass Guitar Chords, Gwin Publishing

Joe Pass, Chord Encounters For Guitar --Book 1Roberto Nannetti, Drop Lessons and Visualisation, handouts
All Blues for Jazz guitar, comping styles, chords & grooves