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〖The Guitarist's Guide to Composing and Improvising by Jon Damian(吉他即兴与创作指南)〗
Introduction
  I still remember holding my first guitar, a big old sunburst, acoustic, F hole, Harmony arch top-a $25 chunk of beauty. I remember the excitement of picking out my first chord, and finding where the black dots on those chord diagrams were on the fingerboard. My first major-seventh chord was pure ecstasy. I was like a child turning over rocks to find strange creatures lurking underneath.
  I am sure that many of you share this curiosity and excitement. From Bach (yes, Bach played the guitar too!) to Zappa, guitarists have always had one thing in common: curiosity. The guitar provokes curiosity. Just look at it. The guitar can take on very curious shapes and sounds. Just think of what Bach's guitar looked and sounded like, and then think of Zappa's.
  Our primary interest may be classical, blues, rock, or jazz. But there is a common bond in all of these musics. They originated as improvisatory ideas. Some curious musician banged around on an instrument (improvised), found an idea he liked, maybe wrote it down (composed), and then shared it with others. Gradually, a musical style was born. The most exciting part of playing any music is during these periods of improvisation (at least, in my experience).
  What is improvisation? This works for me: "Improvisation consists of the ability to be aware of a moment (in this case, a musical one) and react to it in an efficient manner." This actually holds true for the art of composition, as well, since composition is an extended improvisation. Since it is tough for me to separate the two, I use the word "comprovisation."
  For centuries, the guitar has been a wonderful machine for comprovisation, described as "a little orchestra" by various folks, including Beethoven and Berlioz. As soloists, playing this incredible little orchestra, we can sound a single note in many different tone colors. We can add more notes to create a melody, join this melody in counterpoint with another melody or two, accompany this counterpoint with a percussive tap on the body, add a choir of full 5- or 6-note chords, and-wow, we sure have a lot to work with!
  The following is a collection of resources for the curious guitarist. This collection challenges guitarists of all styles and levels to expand their creative resources for improvising and composing on the guitar. A world of possibilities will open for you to bring to your music. If things at first sound too intellectual, always remember that something that you now do "instinctively" on the guitar-like playing a favorite chord-was once an intellectual procedure to play. You had to look at those dots on the chord diagram, find them on the fingerboard with your fingers, and hope for the best. But now, playing that chord is as instinctive to you as scratching your head!
  The ideas presented here are intended as catalysts to stimulate creative thought. Many of the ideas are long-range concepts that will always be developing within our curious selves.
  After more than thirty years, the most fascinating aspect of the guitar is its ability to surprise me with possibilities. The guitar can whisper or shout, sound warmly sweet, scream with a metal edge, be tapped like a drum, sing a simple song, or become a choir of two to six contrapuntal voices, serenading its conductor: you.
  This book is intended as a refreshing source for musical ideas that help the guitarist develop as an improviser and composer. I hope that it stimulates and inspires you to search tor the guitar's endless musical treasures.
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〖The Guitarist's Guide to Composing and Improvising by Jon Damian(吉他即兴与创作指南)〗


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