Exploration of technical innovations provided by three decades of classically influenced, hard-rock players. In-depth study of the early pioneers of the style (Ritchie Blackmore, Uli-Jon Roth, Michael Schenker) and the more recent guitarists (Yngwie Malmsteen, Jason Becker, Joe Stump) who helped to redefine the genre known most commonly as shred.
Study and application of scales and harmony in this style of improvisation and their application to the guitar, including fingering and guitaristic devices (string bending, slides, etc.). Presentation is through written and recorded examples of contemporary artists (including nonguitarists), instructor demonstration, and student performance with taped rhythm section.
The application of harmony as it occurs in popular music. Rhythm guitar parts presented through tapes, transcriptions, and demonstrations of jazz, rock, funk, and fusion records. Included are adaptations of keyboard parts to guitar and discussion and demonstration of various rhythm guitar techniques (two- and three-note voicings, mutings, etc.).
Performance of material from Rock Guitar Styles including extensive lead and rhythm examples in all idioms of rock music from the 1950s to the present day.
Aspects of steel guitar performances in exemplary styles including Hawaiian, western swing, country, blues, and jazz. Extensive listening and study of transcribed examples. Students use their own guitars with an inexpensive accessory to learn bar control and picking methods. Exploration of alternative open tunings.
Study of technique, repertoire, and improvisational approaches with regard to contemporary slide-guitar performance.
This lab will break down all aspects of funk guitar styles. Students will familiarize themselves with salient concepts including phrasing, time, rhythm playing, playing the pocket, harmonics possibilities, and understanding the many roles that the guitar can play in funk settings. Funk is a dialect in the musical language. As is the case with any language, students will focus on understanding and communicating in this dialect, listening to pronunciation and how sentences are phrased, and building a strong vocabulary.
Instrumental lab for guitar principals dealing with two-octave, three- and four-part arpeggios across the guitar. Included in weekly assignments will be exercises and drill studies.
A Guitar Department course in which students will study methods and techniques specifically related to the accompaniment of vocalists in a variety of styles and settings. Students will learn repertoire-appropriate chord and melodic techniques, including drop two and three, voicings; walking bass techniques; chord soloing techniques; and finger- and pick-style playing; as well as techniques for working with male and female vocalists in solo, duo, trio, or larger settings.
This lab is an introduction to rhythmic displacement in comping and soloing by the use of various polyrhythms and polymeters against a standard 3/4 or 4/4 time signature.
A course exploring a wide range of creative, aesthetic, conceptual, and technical aspects of recording electric and acoustic guitar. Topics will include the creation of overdubbed parts in a recording session and related aspects of tone; orchestration and concept; recording media; direct recording of electric guitar; microphone use and theory applied to electric and acoustic guitar; use of equalization, compression, and other effects in a recording environment; and mixing and production concepts.
Performance of material from Country Guitar Styles, including single-note solos, pedal steel style, folk fingerpicking, and western swing.