SJU Courses - Siena Jazz University

2nd 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)

1
2
3
4
5
6
7
8
9
10

PIECES
Caravan
Footprints
Anthropology
Alone Together
Body and Soul
Just Friends
Stella by Starlight
Everybodys Song but my Own
Maiden Voyage
Moon Alley

Possible assignments
Memorization
Minor Blues (Joe Pass)
Harmonic study (B. Galbraith), Transposition
Chord melody (B. Galbraith)
Chord melody, Harmonic study (B. Galbraith)
Transposition in 12 keys, study of Chet Baker solo
Chord melody
Memorization
Memorization. Study of modal techniques
Memorization

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

1

PIECES
1 Misty (Wes)

TYPE ALTERNATIVES
Trascr Chloe (Joe Pass) and
My Heart Sings (Jim Hall)
Solo

2 Di Menor (Guinga)

Solo

3 Just Friends

Solo

4 Nightclub 1960, Piazzolla

Duo

5 Prelude from Suite V for

Cello in g min, J.S. Bach

Solo

Noturno Leopoldina (Guinga)

TYPES ASSIGNMENT
Trascr Memorization,
Solo
performance on an
original base
Solo
Memorization,
Performance

Stylistic
comparison
Duo

Tetigi, tactum,
tangere, R. Nannetti
Prelude from Suite I for
Cello in D, J.S. Bach

Solo

Improv,
Performance
Memorization,
Performance

* 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, 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 second year up to the eighth position.
Development of interpretation of performance: interpretation of octaves in swing and of even

eights in Latin.
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
and from the Brazilian choro repertory.
TEXTS

POSSIBLE ASSIGNMENTS

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

From 20 onward

W.G. Leavitt, Readings Studies for Guitar, Berklee Pub

IV-VII position

42 Chord Melody Arrangements, B. Galbraith

3 readings from the list of 10

obligatory pieces

Brani scelti dalla cultura musicale brasiliana

(Gismonti, Hermeto, etc.)

Min. 4 readings to be agreed upon

J.S. Bach, 2-Part Invention (duet)

Min. 4 readings to be agreed upon

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 toward the construction and development of melodic-rhythmic phrases.
TEXTS

TYPE

ASSIGNMENT

W.G. Leavitt, Rhythm Guitar, The Right

Hand, excerpts vol. 2 and 3 (A
Modern Method for Guitar)

Collection of rhythms
for the right hand
(pick)

All the most

common
rhythms

Excerpts from Nelson Faria, The

Brasilian Guitar Book

Collection of rhythms All the most

for the right hand common
(fingerstyle)
rhythms

A. Hanlon., Kreutzer for Guitar

(pick method)

General method for

modern technique

Studies

Abel Carlevaro, Serie didactica para

guitarra, Cuaderno N2, Tcnica de la
mano derecha

General method for

classical technique

Studies to be agreed
upon

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 with the 12 fingerings in W. Leavitt, vol.3

Development of knowledge and performance practice of all the modal scales derived

from the major scale and from the minor scales. Study of the modules and of the longform scales (three octaves)
From the derivative to the parallel approach.
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.
Development of knowledge and performance practice of all intervals in a melodic and
harmonic sense up to the thirteenth, according to models studied: major and relative
3

minor scales thirds and sixths as in R. Nannetti.

TEXTS

TYPE

ASSIGNMENT

L. Powers, The Scale Book, PMP

Belwin- Mills

General method

All the scales

W.G. Leavitt, A Modern Method for

Guitar, Vol.3, Berklee Pub

General method

Don Mock, Artful Arpeggios, Hal Leonard

Pub
Abel Carlevaro, Serie didactica para
guitarra, Cuaderno N3, Tcnica de la
mano isquierda
A. Hanlon., Kreutzer for Guitar
(pick method)

General method

All the scales

All the arpeggios
All the arpeggios

4
5

From 1 to 5

Harmonic language and accompaniment

Development of knowledge and performance practice of 4-part voicings, in keeping with

the 8 sets of fundamental chords, drop 2 and drop 3 and inversions.

Introduction to accompaniment in the style of walking bass in 3 or 4 parts with particular

focus on Rhythm & Changes.

From the concept of scalable position to the movement of the parts. Study of harmonic-

melodic continuity, guide lines, chord melody, block chords.

Development of transposition technique with accompaniment exercises on at least one

piece (of the 10+5) in all 12 keys.

1
2
3

TEXTS
TYPE
Joe Diorio, A guitar approach to Rhythm
Changes
Roberto Nannetti, Drop Lessons and handouts
Visualisation,
B. Galbraith, Guitar Comping, Aebersold Basses + text
#3

ASSIGNMENT

Introduction to voicing
Functional study of
the obligatory piece
list

General Bibliography 2nd Year

Methods and reading
W.G. Leavitt, A Modern Method for Guitar, Vol.3, Berklee Pub
W.G. Leavitt, Melodic Rhythm for Guitars, Berklee Pub
4

W.G. Leavitt, Readings Studies for Guitar, Berklee Pub

Joe Pass, Joe Pass Guitar Style, Gwin Publishing
Mick Goodrick, Advancing Guitarist, Hal Leonard Books
Nelson Faria, The Brazilian Guitar Book
J.S. Bach, Six Suites for Solo Cello (transcription for guitar)
J.S. Bach, 2-Part Invention (for 2 guitars)

Technique

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

Don Mock, Artful Arpeggios, Hal Leonard Pub
A. Hanlon., Kreutzer for Guitar (pick method)
Abel Carlevaro, Serie didactica para guitarra, Cuaderno N2, Tcnica de la mano derecha
R. Nannetti, Tecnica della mano sinistra, SienaJazz
R. Nannetti, Tecnica della mano destra, SienaJazz,

Harmony
B. Galbraith, Guitar Comping, Aebersold #3
Roberto Nannetti, Drop Lessons and Visualisation, handouts
Joe Diorio, A guitar approach to Rhythm Changes