Chuck Anderson Jazz Guitar

Track Listing

Blues for Chris 4:36
Yvette 4:23
VSQ 4:00
Woman Child 4:34
Spring Rain 8:30
End of a Love Affair 6:43
Dance of the Algons 5:34
Sweet Talk Me Waltz 3:08
Bojon 3:58
Aqua de Beber 7:35
Ft. Wayne Express 4:42
Phoenix Rising 6:49
Hyacinth 3:17

Track Listing

Aqua Blue
Soft Breezes
Angel Blue
Piroutte
Street Strut
Flyin’ Free
Danielle
VSQ
Eleanor Rigby Medley
Dance of the Algons

Princess of the Nile 5:07
In a Misty Glow 6:07
Mystique 5:51
Flight 5:25
Song for Coreen 4:06
Exit Blues 5:41
The Enchanted Garden 4:55
Double Dippin' 4:18
Chanson 1:48
Freefall 4:34
From the Heart 5:10
Diablo's Dream

Author: Chuck Anderson
Publisher: Anderson Music Publications - (18 pages)
ISBN: 0-9719730-0-8 Published: 2003
Size: 4.25 x 8.5 inches (saddle stitch)
Product Code: UNLGNN

Author: Chuck Anderson
Publisher: Anderson Music Publications - (18 pages)
ISBN: 0-9719730-0-8 Published: 2003
Size: 4.25 x 8.5 inches (saddle stitch)
Product Code: UNLGNN

Author: Chuck Anderson
Publisher: Anderson Music Publications - (26 pages)
ISBN: 0-9719730-4-0 Published: November 2003
Size: 8.5 x 11 inches (coil binding)
Product Code: TOJ1

Book Type

Hard Copy $20.00 Digital E Book $14.00

“World class music played by world class musicians for world class audiences.”

Joel Dorn Legendary Jazz Producer

• Angel Blue
• Aqua Blue
• Danielle
• Diablos Dream
• Flyin’ Free
• Nikki’s Waltz
• Pirouette
• Soft Breezes
• Spring Rain
• Street Strut
• VSQ
• Woman Child
• Yvette

Author: Chuck Anderson
Publisher: Anderson Music Publications - (26 pages)
ISBN: 0-9719730-4-0 Published: November 2003
Size: 8.5 x 11 inches (coil binding)
Product Code: TOJ1

Book Type

Hard Copy $20.00 Digital E Book $14.00

“World class music played by world class musicians for world class audiences.”

Joel Dorn Legendary Jazz Producer

• Angel Blue
• Aqua Blue
• Danielle
• Diablos Dream
• Flyin’ Free
• Nikki’s Waltz
• Pirouette
• Soft Breezes
• Spring Rain
• Street Strut
• VSQ
• Woman Child
• Yvette

Author: Chuck Anderson
Publisher: Chuck Anderson Publications - (66 pages)
ISBN: NA Published: 1999, Second Printing 2006)
Product Code: PMTG1
Size: 8.5 x 11 inches (coil binding)

The Private Music Teacher’s Guide is filled with precise, insightful techniques to help you survive and prosper in the private music teaching business.

The Philosophy of Teaching

The philosophy of teaching addresses the question of why you teach. The “Why” in this question doesn’t relate to the need of income but to your internal attitudes towards teaching. Though there many reasons to teach, the single most important attitude in the long run is the desire to help a student achieve his or her goals. This is not to say that you shouldn’t be motivated by income but that the philosophy of helping is a more successful, long range approach.

An excellent test of the purity of this philosophy involves a simple speculation. If you had no financial need, would you teach? If the answer is no, your motivation was money. This is not a criticism or a value judgment - just a fact. On the other hand, if your answer is yes, you are motivated by a pure teaching philosophy. This is not to imply that one philosophy is better than the other. It just asks you to identify your own motivation. This is an important first step in setting and achieving your own goals.

Philosophy is not always this abstract. It also deals with your approach and priorities within the lesson. Some considerations are: How important is reading music, what about the role of songs, the amount of teacher demonstration, teacher- student duets, the importance of public performance through recitals, the use of graduated method books, the attitude and approach towards memorization, student creativity, ear training, theory, music business, grades, competitions, technology, writing music, music appreciation, music history, etc.

You must make a conscious decision on how you will approach each of these topics. Obviously, the student’s goals and interests will be the first consideration. But beyond that, these decisions will shape your style as a teacher. No two teachers agree on the approach or importance of these topics. The decision is yours but it should be made with the best interest of the student in mind. Ultimately, the more knowledge you have as a teacher, the more versatile and effective you will be. Every student must be treated uniquely but the teacher must be prepared musically, academically and philosophically to take advantage of that uniqueness.

• Contents
• Foreword
• Biography
• The Teaching Philosophy
• Psychology
  • Motivation
  • Expectation
  • Discipline
  • Attitude
  • Confidence
  • Separation
  • Read the Need
• The Holistic Approach to Teaching
• Curriculum
• Marketing
• Marketing Plan
  • Identity
  • Advertising
  • Print Advertising
• The Business
  • Setting Teaching Goals
  • Questions
  • Business Organization
  • Setting Studio Policy
  • Sample Multi-Teacher Studio Policy
  • Sample Single-Teacher Studio Policy
  • Fees
  • Scheduling
  • Master Schedule
  • Scheduling Notes
  • Weekly Schedule
  • Student Information Card
  • Multi Location Information Card
  • Multi Teacher Information Card
  • New Student
• Finances
  • Financial Record Keeping
  • Declaration of Income
  • Investment
  • Taxes
• Alternate Income Sources
  • Retail Sales
  • Seminars
  • Group Teaching
  • Creating educational Materials
  • Publishing
  • Correspondence Teaching
  • Referrals
  • Instrument Rentals
  • Repairs
  • Producing Student Projects
• Keys
  • Summary
  • Conclusion

Author: Chuck Anderson
Publisher: Chuck Anderson Publications - (66 pages)
ISBN: NA Published: 1999, Second Printing 2006)
Product Code: PMTG1
Size: 8.5 x 11 inches (coil binding)

The Private Music Teacher’s Guide is filled with precise, insightful techniques to help you survive and prosper in the private music teaching business.

The Philosophy of Teaching

The philosophy of teaching addresses the question of why you teach. The “Why” in this question doesn’t relate to the need of income but to your internal attitudes towards teaching. Though there many reasons to teach, the single most important attitude in the long run is the desire to help a student achieve his or her goals. This is not to say that you shouldn’t be motivated by income but that the philosophy of helping is a more successful, long range approach.

An excellent test of the purity of this philosophy involves a simple speculation. If you had no financial need, would you teach? If the answer is no, your motivation was money. This is not a criticism or a value judgment - just a fact. On the other hand, if your answer is yes, you are motivated by a pure teaching philosophy. This is not to imply that one philosophy is better than the other. It just asks you to identify your own motivation. This is an important first step in setting and achieving your own goals.

Philosophy is not always this abstract. It also deals with your approach and priorities within the lesson. Some considerations are: How important is reading music, what about the role of songs, the amount of teacher demonstration, teacher- student duets, the importance of public performance through recitals, the use of graduated method books, the attitude and approach towards memorization, student creativity, ear training, theory, music business, grades, competitions, technology, writing music, music appreciation, music history, etc.

You must make a conscious decision on how you will approach each of these topics. Obviously, the student’s goals and interests will be the first consideration. But beyond that, these decisions will shape your style as a teacher. No two teachers agree on the approach or importance of these topics. The decision is yours but it should be made with the best interest of the student in mind. Ultimately, the more knowledge you have as a teacher, the more versatile and effective you will be. Every student must be treated uniquely but the teacher must be prepared musically, academically and philosophically to take advantage of that uniqueness.

• Contents
• Foreword
• Biography
• The Teaching Philosophy
• Psychology
  • Motivation
  • Expectation
  • Discipline
  • Attitude
  • Confidence
  • Separation
  • Read the Need
• The Holistic Approach to Teaching
• Curriculum
• Marketing
• Marketing Plan
  • Identity
  • Advertising
  • Print Advertising
• The Business
  • Setting Teaching Goals
  • Questions
  • Business Organization
  • Setting Studio Policy
  • Sample Multi-Teacher Studio Policy
  • Sample Single-Teacher Studio Policy
  • Fees
  • Scheduling
  • Master Schedule
  • Scheduling Notes
  • Weekly Schedule
  • Student Information Card
  • Multi Location Information Card
  • Multi Teacher Information Card
  • New Student
• Finances
  • Financial Record Keeping
  • Declaration of Income
  • Investment
  • Taxes
• Alternate Income Sources
  • Retail Sales
  • Seminars
  • Group Teaching
  • Creating educational Materials
  • Publishing
  • Correspondence Teaching
  • Referrals
  • Instrument Rentals
  • Repairs
  • Producing Student Projects
• Keys
  • Summary
  • Conclusion

Author: Chuck Anderson
Publisher: Chuck Anderson Publications - (74 pages)
Published: March 2008
ISBN-10: NA
ISBN-13: NA
Size: 8.5 x 11 inches (coil binding)
Product Code: MPRS-FW1

Modular Phonetic Rhythm represents a significant advance in the teaching and application of rhythm. Eliminating many inefficient aspects of rhythm education, Modular Phonetic Rhythm streamlines the traditional educational approach, resulting in a reflexive reaction to rhythm.

This approach is applicable to all ages and to all styles of music. It has applications for the individual musician as well as for groups such as orchestra, jazz band, marching band, small groups etc.

The concept of rhythm is simple. It’s the duration of a note, a chord or a pattern. Rhythm is integrated into every facet of music. A melody is a sequence of pitches with rhythm. A chord progression is a sequence of chords with rhythm. Rhythm impacts Melody, Harmony and even Lyrics. It’s also a subject in and of itself. Rhythm is so intuitive, that it’s often overlooked as an independent topic of study.

The significance of rhythm goes back before the earliest recorded history. Whether it was logs, stomping feet or hand clapping, rhythm seems to have been the first musical element known to primitive man.

The difficulty in the study of rhythm has always been its abstract nature - and its mathematical approach. Rhythm has traditionally been taught as a function of math, particularly fractions. Though accurate, this approach has missed one of the most fundamental facts of rhythm. Rhythm is a sonic language and is, as such, phonetic not mathematical in nature. The average student exposed to the math orientation of rhythm has rarely absorbed the essence of rhythm. He or she rarely becomes proficient at sight reading rhythm. This often remains a lifetime barrier to the developing musician.

Though rhythm can be explained in mathematical terms, this approach does not give you a practical command of the sounds of the rhythms. Rhythm is a series of sounds! How can these sounds be organized?

“The Modular Phonetic Rhythm represents a fresh and innovative approach that helps bring the abstract into focus, examining the core of the real, linguistically aligned processes actually involved in reading, understanding, interpreting, and executing rhythm.”

Arthur Bernstein, Senior Lecturer Liverpool Institute for Performing Arts

The approach taken in this book is based on the concept of Modular Phonetics. Modular refers to the interchangeability of rhythm syllables and Phonetics refers to the sound of the rhythm syllables. Phonics has always been the key to sound in language. Without phonics, we could not pronounce words. We could not hear the sound of the words. Without Modular Phonetics, we can not hear the sound of rhythm. Contrary to popular opinion, being good at math does not guarantee or even indicate the potential for musical proficiency. My observations over the last 35 years have supported the theory that musical tendencies are often the outgrowth of communication skills, such as language. Music engineers often show high aptitude in math but musicians do not necessarily share this aptitude.

There is a strong correlation between the ability to spell and strong fundamentals in phonics. Phonetic skills allow us to “sound out” words, even words that we’ve never seen before! We understand the principle of sound as it applies to phonetic combinations. The “sight” of the letter combination triggers a reflexive “sound” reaction. If rhythm could be broken down into a system of phonetic units similar to the syllables of language, then rhythm would become an easily recognized and applied aural language.

Modular Phonetic Rhythm is based on 24 basic rhythm syllables. These rhythm syllables vary in length from 1 note to 6 notes and from 1 beat to 4 beats. The system is divided into 4 levels based on the subdivision of the beat. Level I does not subdivide the beat. This is the level in which all notes are struck only on the downbeat. Level II divides the beat into 2 parts. Level III divides the beat into 3 parts. Level IV divides the beat into 4 parts. The levels do not express progressive difficulty, just progressive subdivisions of the beat.

To illustrate, take the word umbrella. This word could be expressed as 8 letters or as 3 syllables. Treating the word as 8 letters is similar to traditional rhythm teaching. A rhythm pattern could traditionally be described as a note lasting one half beat followed by a note lasting one beat followed by a note lasting one half beat. The “sound” of the rhythm is not part of this equation. But using the syllable parallel (umbrella has 3 syllables), the rhythm can be grouped into a phonetic syllable that does have a sound. Now, rhythm can be reproduced in the preferable “eye-ear-hand reflex” - the eye sees it - the ear hears it - the hands execute it!

The Modular Phonetic Rhythm System

The Modular Phonetic Rhythm System includes the book The Foundation and Workbook One and two sets of 24 Basic Rhythm Syllable Cards.

• Modular Phonetic Rhythm 7
• The Three Tiers of Rhythm 9
• The 24 Basic Syllables of Rhythm 11
• Level I
  • Whole Note Syllable 13
  • Dotted Half Note Syllable 13
  • Half Note Syllable 13
  • Quarter Note Syllable 13
• Level II
  • Four 8th Notes Syllable14
  • Quarter Note and Two 8th Notes Syllable 14
  • Two 8th Notes and Quarter Note Syllable 14
  • Dotted Quarter Note and 8th Note Syllable 14
  • 8th Note and Dotted Quarter Note Syllable 15
  • 8th Note, Quarter Note and 8th Note Syllable 15
• Level III
  • Three 8th Notes Triplet Syllable 16
  • Quarter Note and 8th Note Triplet Syllable 16
  • 8th Note and Quarter Note Triplet Syllable 16
  • Three Quarter Notes Triplet Syllable 17
  • 8th Note and Three 16th Notes Triplet Syllable 17
  • Three 16th Notes and 8th Note Triplet Syllable 17
  • Six 16th Notes Triplet Syllable 18
  • Three Half Notes Triplet Syllable
• Level IV
  • Four 16th Notes Syllable
  • 8th Note and Two 16th Notes Syllable
  • Two 16th Notes and 8th Note Syllable
  • Dotted 8th Note and 16th Note Syllable
  • 16th Note and Dotted 8th Note Syllable
  • 16th Note, 8th Note and 16th Note Syllable
• Level Shifting
• Shift Count Exercise
• Beyond the Syllables

• Ties
• Rests
• Ties and Rests
• Time Signatures

Author: Chuck Anderson
Publisher: Chuck Anderson Publications - (74 pages)
Published: March 2008
ISBN-10: NA
ISBN-13: NA
Size: 8.5 x 11 inches (coil binding)
Product Code: MPRS-FW1

Modular Phonetic Rhythm represents a significant advance in the teaching and application of rhythm. Eliminating many inefficient aspects of rhythm education, Modular Phonetic Rhythm streamlines the traditional educational approach, resulting in a reflexive reaction to rhythm.

This approach is applicable to all ages and to all styles of music. It has applications for the individual musician as well as for groups such as orchestra, jazz band, marching band, small groups etc.

The concept of rhythm is simple. It’s the duration of a note, a chord or a pattern. Rhythm is integrated into every facet of music. A melody is a sequence of pitches with rhythm. A chord progression is a sequence of chords with rhythm. Rhythm impacts Melody, Harmony and even Lyrics. It’s also a subject in and of itself. Rhythm is so intuitive, that it’s often overlooked as an independent topic of study.

The significance of rhythm goes back before the earliest recorded history. Whether it was logs, stomping feet or hand clapping, rhythm seems to have been the first musical element known to primitive man.

The difficulty in the study of rhythm has always been its abstract nature - and its mathematical approach. Rhythm has traditionally been taught as a function of math, particularly fractions. Though accurate, this approach has missed one of the most fundamental facts of rhythm. Rhythm is a sonic language and is, as such, phonetic not mathematical in nature. The average student exposed to the math orientation of rhythm has rarely absorbed the essence of rhythm. He or she rarely becomes proficient at sight reading rhythm. This often remains a lifetime barrier to the developing musician.

Though rhythm can be explained in mathematical terms, this approach does not give you a practical command of the sounds of the rhythms. Rhythm is a series of sounds! How can these sounds be organized?

“The Modular Phonetic Rhythm represents a fresh and innovative approach that helps bring the abstract into focus, examining the core of the real, linguistically aligned processes actually involved in reading, understanding, interpreting, and executing rhythm.”

Arthur Bernstein, Senior Lecturer Liverpool Institute for Performing Arts

The approach taken in this book is based on the concept of Modular Phonetics. Modular refers to the interchangeability of rhythm syllables and Phonetics refers to the sound of the rhythm syllables. Phonics has always been the key to sound in language. Without phonics, we could not pronounce words. We could not hear the sound of the words. Without Modular Phonetics, we can not hear the sound of rhythm. Contrary to popular opinion, being good at math does not guarantee or even indicate the potential for musical proficiency. My observations over the last 35 years have supported the theory that musical tendencies are often the outgrowth of communication skills, such as language. Music engineers often show high aptitude in math but musicians do not necessarily share this aptitude.

There is a strong correlation between the ability to spell and strong fundamentals in phonics. Phonetic skills allow us to “sound out” words, even words that we’ve never seen before! We understand the principle of sound as it applies to phonetic combinations. The “sight” of the letter combination triggers a reflexive “sound” reaction. If rhythm could be broken down into a system of phonetic units similar to the syllables of language, then rhythm would become an easily recognized and applied aural language.

Modular Phonetic Rhythm is based on 24 basic rhythm syllables. These rhythm syllables vary in length from 1 note to 6 notes and from 1 beat to 4 beats. The system is divided into 4 levels based on the subdivision of the beat. Level I does not subdivide the beat. This is the level in which all notes are struck only on the downbeat. Level II divides the beat into 2 parts. Level III divides the beat into 3 parts. Level IV divides the beat into 4 parts. The levels do not express progressive difficulty, just progressive subdivisions of the beat.

To illustrate, take the word umbrella. This word could be expressed as 8 letters or as 3 syllables. Treating the word as 8 letters is similar to traditional rhythm teaching. A rhythm pattern could traditionally be described as a note lasting one half beat followed by a note lasting one beat followed by a note lasting one half beat. The “sound” of the rhythm is not part of this equation. But using the syllable parallel (umbrella has 3 syllables), the rhythm can be grouped into a phonetic syllable that does have a sound. Now, rhythm can be reproduced in the preferable “eye-ear-hand reflex” - the eye sees it - the ear hears it - the hands execute it!

The Modular Phonetic Rhythm System

The Modular Phonetic Rhythm System includes the book The Foundation and Workbook One and two sets of 24 Basic Rhythm Syllable Cards.

• Modular Phonetic Rhythm 7
• The Three Tiers of Rhythm 9
• The 24 Basic Syllables of Rhythm 11
• Level I
  • Whole Note Syllable 13
  • Dotted Half Note Syllable 13
  • Half Note Syllable 13
  • Quarter Note Syllable 13
• Level II
  • Four 8th Notes Syllable14
  • Quarter Note and Two 8th Notes Syllable 14
  • Two 8th Notes and Quarter Note Syllable 14
  • Dotted Quarter Note and 8th Note Syllable 14
  • 8th Note and Dotted Quarter Note Syllable 15
  • 8th Note, Quarter Note and 8th Note Syllable 15
• Level III
  • Three 8th Notes Triplet Syllable 16
  • Quarter Note and 8th Note Triplet Syllable 16
  • 8th Note and Quarter Note Triplet Syllable 16
  • Three Quarter Notes Triplet Syllable 17
  • 8th Note and Three 16th Notes Triplet Syllable 17
  • Three 16th Notes and 8th Note Triplet Syllable 17
  • Six 16th Notes Triplet Syllable 18
  • Three Half Notes Triplet Syllable
• Level IV
  • Four 16th Notes Syllable
  • 8th Note and Two 16th Notes Syllable
  • Two 16th Notes and 8th Note Syllable
  • Dotted 8th Note and 16th Note Syllable
  • 16th Note and Dotted 8th Note Syllable
  • 16th Note, 8th Note and 16th Note Syllable
• Level Shifting
• Shift Count Exercise
• Beyond the Syllables

• Ties
• Rests
• Ties and Rests
• Time Signatures

Author: Chuck Anderson
Publisher: Anderson Publications - (24 pages)
Published: Sept 2009
ISBN-13: NA
ISBN-10: NA
Product Code: MP1
Size: 8.5 x 11 inches (coil binding

Master Picking tackles the most subtle and difficult technical problem of the guitar. The technique and control of picking is almost an invisible issue for many guitarists. This book looks at both the art and the science of picking.

• Introduction 5
• The Importance and Difficulty of the Picking Hand 6
• Technique 6
• The Pick 7
• The Picking Motion 9
• Alternate Pick Exercises 10
• Controversy 11
• The Variables of Picking 12
• The Sound of Picking 12
• Pick Direction 13
• Picking Pairs 13
• Overlapping Pairs 14
• The Principles of Picking Pairs 14
• Note Pairs: Alternate Picking 14
• Note Pairs: Consecutive Picking 15
• Multi Note Passages 16
• Further Applications of Picking 20
• Rhythmic Picking 20
• Pattern Picking 20
• Further Considerations 21
• Dynamic Quality 21
• Phrasing 22
• String Damping 22
• Chords and Strums 23
• Conclusion 24

Author: Chuck Anderson
Publisher: Anderson Publications - (24 pages)
Published: Sept 2009
ISBN-13: NA
ISBN-10: NA
Product Code: MP1
Size: 8.5 x 11 inches (coil binding

Master Picking tackles the most subtle and difficult technical problem of the guitar. The technique and control of picking is almost an invisible issue for many guitarists. This book looks at both the art and the science of picking.

• Introduction 5
• The Importance and Difficulty of the Picking Hand 6
• Technique 6
• The Pick 7
• The Picking Motion 9
• Alternate Pick Exercises 10
• Controversy 11
• The Variables of Picking 12
• The Sound of Picking 12
• Pick Direction 13
• Picking Pairs 13
• Overlapping Pairs 14
• The Principles of Picking Pairs 14
• Note Pairs: Alternate Picking 14
• Note Pairs: Consecutive Picking 15
• Multi Note Passages 16
• Further Applications of Picking 20
• Rhythmic Picking 20
• Pattern Picking 20
• Further Considerations 21
• Dynamic Quality 21
• Phrasing 22
• String Damping 22
• Chords and Strums 23
• Conclusion 24

Author: Chuck Anderson
Publisher: Chuck Anderson Publications - (42 pages)
ISBN: 0-9719730-9-1 Published: November 2003
Size: 8.5 x 11 inches (coil binding)
Product Code: MM1

The modes are a system of scales and chords dating back to Pythagoras of ancient Greece. They were heavily in use for a period of church music known as Gregorian Chant. They have also influenced the music of many diverse Western cultures.

Mastering the modes is an outstanding way to expand your concept of harmonic and melodic tonality. Key writing and improvising are important but limited. Modes provide a way of creating "shades" of major and minor keys. Once learned, modes will give you powerful new insights into the possibility of creativity.

• Intro
  • Summary of whole - half step patterns for modes
• The Characteristic Scale Step
• How to Stress a Note
  • Characteristic Scale Steps
  • Characteristic Chords
• Summary of Characteristic Chords
• Mode - Major Scale Relationship
• Mode With a C Root
• Generalized
• Working with the Modes
• Characteristic Scale Steps of the Modes
• Modes as Derivations of the Blues Scale
• Modes as Derivations of the Pentatonic Scale
• The 'Devils" Mode
• The Pedal Bass
• Quartal Chords
• Mode Scale & Chord Charts
  • Dorian Mode
  • Phrygian Mode
  • Lydian Mode
  • Mixolydian Mode
  • Aeolian Mode
  • Locrian Mode
  • Ionian Mode
• Conclusion

Author: Chuck Anderson
Publisher: Chuck Anderson Publications - (42 pages)
ISBN: 0-9719730-9-1 Published: November 2003
Size: 8.5 x 11 inches (coil binding)
Product Code: MM1

The modes are a system of scales and chords dating back to Pythagoras of ancient Greece. They were heavily in use for a period of church music known as Gregorian Chant. They have also influenced the music of many diverse Western cultures.

Mastering the modes is an outstanding way to expand your concept of harmonic and melodic tonality. Key writing and improvising are important but limited. Modes provide a way of creating "shades" of major and minor keys. Once learned, modes will give you powerful new insights into the possibility of creativity.

• Intro
  • Summary of whole - half step patterns for modes
• The Characteristic Scale Step
• How to Stress a Note
  • Characteristic Scale Steps
  • Characteristic Chords
• Summary of Characteristic Chords
• Mode - Major Scale Relationship
• Mode With a C Root
• Generalized
• Working with the Modes
• Characteristic Scale Steps of the Modes
• Modes as Derivations of the Blues Scale
• Modes as Derivations of the Pentatonic Scale
• The 'Devils" Mode
• The Pedal Bass
• Quartal Chords
• Mode Scale & Chord Charts
  • Dorian Mode
  • Phrygian Mode
  • Lydian Mode
  • Mixolydian Mode
  • Aeolian Mode
  • Locrian Mode
  • Ionian Mode
• Conclusion

Author: Chuck Anderson
Publisher: Anderson Music Publications - (108 pages)
ISBN: 0-9719730-7-5
Size: 6 x 9 inches (paperback, perfect bound)
Product Code: HOZ

Music Pursuing The Horizon is literally a handbook of survival for musicians. The book deals with subjects which cause problems for anyone pursuing music as a career or as an avocation. The material is geared not at instruction but rather at problem solving. With this problem solving approach, musical myths are explored and exploded.

Deep and highly personal problems often prevent players from achieving their potential. How to cope with attitudes toward yourself, music and a acreer is a critically important factor in succeding in music on any level.

Within the subjects discussed, there is common sense advice and solutions for many pressing problems that plague musicians on a day to day basis.

This book is recommended by the Liverpool Institute for the Performing Arts and by The Eastman School of Music.

“In his book, Music Pursuing the Horizon, Chuck Anderson gives valuable advice on a wide variety of music related topics such as Talent, Setting Goals and Progress to name a few. Though these topics are not typically studied in most music curriculum, they should be and they are done so effectively in Chuck’s book. I highly recommend "Music Pursuing the Horizon" to music students everywhere.”

Fred Sturm Eastman School of Music

• On Practice
• Progress in Music
• Student-Performer Dichotomy

• Talent
• Feelings of Depression
• Motivation
• Freedom and Discipline
• Compromise or Adjustment

• Goals in Music
• Social and Parental Resistance
• The Politics of Music
• Music as a Profession and Other Things
• The Artist in the World

• Master-Apprentice Relationships
• Teacher-Student Relationships
• Pursuing Music Without a Teacher
• Conclusion
• Acknowledgements

Author: Chuck Anderson
Publisher: Anderson Music Publications - (108 pages)
ISBN: 0-9719730-7-5
Size: 6 x 9 inches (paperback, perfect bound)
Product Code: HOZ

Music Pursuing The Horizon is literally a handbook of survival for musicians. The book deals with subjects which cause problems for anyone pursuing music as a career or as an avocation. The material is geared not at instruction but rather at problem solving. With this problem solving approach, musical myths are explored and exploded.

Deep and highly personal problems often prevent players from achieving their potential. How to cope with attitudes toward yourself, music and a acreer is a critically important factor in succeding in music on any level.

Within the subjects discussed, there is common sense advice and solutions for many pressing problems that plague musicians on a day to day basis.

This book is recommended by the Liverpool Institute for the Performing Arts and by The Eastman School of Music.

“In his book, Music Pursuing the Horizon, Chuck Anderson gives valuable advice on a wide variety of music related topics such as Talent, Setting Goals and Progress to name a few. Though these topics are not typically studied in most music curriculum, they should be and they are done so effectively in Chuck’s book. I highly recommend "Music Pursuing the Horizon" to music students everywhere.”

Fred Sturm Eastman School of Music

• On Practice
• Progress in Music
• Student-Performer Dichotomy

• Talent
• Feelings of Depression
• Motivation
• Freedom and Discipline
• Compromise or Adjustment

• Goals in Music
• Social and Parental Resistance
• The Politics of Music
• Music as a Profession and Other Things
• The Artist in the World

• Master-Apprentice Relationships
• Teacher-Student Relationships
• Pursuing Music Without a Teacher
• Conclusion
• Acknowledgements

Author: Chuck Anderson
Publisher: Anderson Music Publications - (62 pages)
ISBN: na Published: Feburary 2004
Size: 8.5 x 11 inches (coil binding)
Product Code: 6SGFWB1

This is the companion workbook for The Six Secrets of Guitar Fingering. Study the six principles until you fully understand their movements. Then, use these principles to work your way through the Pathways of Guitar.

Introduction from The Six Secrets of Guitar Fingering

Fingering is one of the most universal topics of the guitar. Whether your style is Rock, Blues, Country, Jazz or Classical, these principles will improve your technique, your solos, even your sight reading.

Think of the guitar as a massive series of pathways. When you learn to connect these pathways, there are benefits not only to technique but also to creativity. All fingering on the guitar can be reduced to 6 principles of motion. Each principle has physical and musical characteristics that you can use to improve your playing.

Technically, fingering problems are linked to the guitar’s unequal tuning of perfect fourths with one major third between strings three and two. This characteristic tuning forces constant adjustments in fingering and contributes to the difficulty of learning the notes on the neck*. Note duplications, open strings and unequal tuning all contribute to the complexity of guitar fingering. Since the guitar’s strings vary in diameter, notes produced on different strings vary in tone color. Generally, thicker strings produce warmer or darker tone color. Thinner strings produce a brighter or more cutting tone color.

• Introduction
• Fingering Charts
  • Filling in a Chart
  • The 17 most Critical Scales
  • Two Octave Fingerings
  • Three Octave Fingerings
  • Filling in the Interval, Arpeggio and Sequence Charts
• Scale Fingering Charts
  • Scale Modes
    • Ionian
    • Dorian
    • Phrygian
    • Lydian
    • Mixolydian
    • Aeolian
    • Locrian
  • Traditional Scales
    • Harmonic Minor
    • Tonic Minor
    • Diminished
    • Whole Tone
  • Contemporary Scales
    • Blues
    • Blues w/cpt
    • Pentatonic
    • Pentatonic w/cpt
  • Alterted Scales
    • Mixolydian +4
    • Mixolydian -2 -6
  • Blank Scale Fingering Chart
• Interval Fingering Charts
  • Ionian Seconds
  • Ionian Thirds
  • Ionian Sixths
  • Blank Interval Fingering Chart
• Arpeggio Fingering Charts
  • Triads
    • Major
    • Minor
    • °
    • +
  • 4-Part Chords
    • maj7
    • 7
    • 6
    • mL7
    • m7
    • m6
    • °(L7)
    • Ø7
    • °7
    • +(L7)
    • +7
  • Blank Arpeggio Chart
• Sequences Fingering Charts
  • Ionian Sequence
  • Aeolian Sequence
  • Blank Sequence Chart
• Conclusion

Author: Chuck Anderson
Publisher: Anderson Music Publications - (62 pages)
ISBN: na Published: Feburary 2004
Size: 8.5 x 11 inches (coil binding)
Product Code: 6SGFWB1

This is the companion workbook for The Six Secrets of Guitar Fingering. Study the six principles until you fully understand their movements. Then, use these principles to work your way through the Pathways of Guitar.

Introduction from The Six Secrets of Guitar Fingering

Fingering is one of the most universal topics of the guitar. Whether your style is Rock, Blues, Country, Jazz or Classical, these principles will improve your technique, your solos, even your sight reading.

Think of the guitar as a massive series of pathways. When you learn to connect these pathways, there are benefits not only to technique but also to creativity. All fingering on the guitar can be reduced to 6 principles of motion. Each principle has physical and musical characteristics that you can use to improve your playing.

Technically, fingering problems are linked to the guitar’s unequal tuning of perfect fourths with one major third between strings three and two. This characteristic tuning forces constant adjustments in fingering and contributes to the difficulty of learning the notes on the neck*. Note duplications, open strings and unequal tuning all contribute to the complexity of guitar fingering. Since the guitar’s strings vary in diameter, notes produced on different strings vary in tone color. Generally, thicker strings produce warmer or darker tone color. Thinner strings produce a brighter or more cutting tone color.

• Introduction
• Fingering Charts
  • Filling in a Chart
  • The 17 most Critical Scales
  • Two Octave Fingerings
  • Three Octave Fingerings
  • Filling in the Interval, Arpeggio and Sequence Charts
• Scale Fingering Charts
  • Scale Modes
    • Ionian
    • Dorian
    • Phrygian
    • Lydian
    • Mixolydian
    • Aeolian
    • Locrian
  • Traditional Scales
    • Harmonic Minor
    • Tonic Minor
    • Diminished
    • Whole Tone
  • Contemporary Scales
    • Blues
    • Blues w/cpt
    • Pentatonic
    • Pentatonic w/cpt
  • Alterted Scales
    • Mixolydian +4
    • Mixolydian -2 -6
  • Blank Scale Fingering Chart
• Interval Fingering Charts
  • Ionian Seconds
  • Ionian Thirds
  • Ionian Sixths
  • Blank Interval Fingering Chart
• Arpeggio Fingering Charts
  • Triads
    • Major
    • Minor
    • °
    • +
  • 4-Part Chords
    • maj7
    • 7
    • 6
    • mL7
    • m7
    • m6
    • °(L7)
    • Ø7
    • °7
    • +(L7)
    • +7
  • Blank Arpeggio Chart
• Sequences Fingering Charts
  • Ionian Sequence
  • Aeolian Sequence
  • Blank Sequence Chart
• Conclusion

Author: Chuck Anderson
Publisher: Anderson Music Publications - (42 pages)
ISBN: 0-9719730-3-2 Published: December 2003
Size: 8.5 x 11 inches (coil binding)
Product Code: 6SGF
Introduction

Fingering is one of the most universal topics of the guitar. Whether your style is Rock, Blues, Country, Jazz or Classical, these principles will improve your technique, your solos, even your sight reading.

Think of the guitar as a massive series of pathways. When you learn to connect these pathways, there are benefits not only to technique but also to creativity. All fingering on the guitar can be reduced to 6 principles of motion. Each principle has physical and musical characteristics that you can use to improve your playing.

Technically, fingering problems are linked to the guitar’s unequal tuning of perfect fourths with one major third between strings three and two. This characteristic tuning forces constant adjustments in fingering and contributes to the difficulty of learning the notes on the neck*. Note duplications, open strings and unequal tuning all contribute to the complexity of guitar fingering. Since the guitar’s strings vary in diameter, notes produced on different strings vary in tone color. Generally, thicker strings produce warmer or darker tone color. Thinner strings produce a brighter or more cutting tone color.

This book is devoted to the application of the six principles of guitar fingering. The study of fingering can be broken down into several topics of study. They are : position and technique, finger independence and strength and the principles of motion with their applications. The first step is a good hand position. Critical for technique, a good hand position eliminates the needless waste of effort and energy so typical of underdeveloped fingering technique.

There is a companion workbook for The Six Secrets of Guitar Fingering titled The Pathways of Guitar. This is the companion workbook to The Six Secrets of Guitar Fingering. Study the six principles until you fully understand their movements. Then, use these principles to work your way through the Pathways of Guitar.

• Contents
• Introduction
• Hand Position and Technique
• Finger Independence and Strength
  • 4 Finger Combinations
  • 2 Finger Combinations
  • 3 Finger Combinations
• Notes on the Fingerboard
• Motion Principles and their Applications
  • Stationary
  • Mobile
• Summary of Fingering Principles
• Basic Applications of the Motion Principles
• Priority of Motion Principles
• Motion Principles – the Details
  • Basic
  • Slide
  • Pass
  • Contraction
  • Stretch
  • Leap
• Double Stop Fingering
  • Double Stops on Adjacent Strings
  • Double Stops on Non Adjacent Strings
• Motion Principles Applied
  • Model One – Single Principle Solutions
    • Basic
    • Slide
    • Passing
    • Stretch
    • Contraction
    • Leap
• Model Two – Combined Principle Solutions
  • Slide and Stretch
  • Passing and Slide
  • Contraction and Passing
  • Stretch and Contraction
  • Slide and Contraction
  • Passing and Leap
• The Art and Science of Fingering
• Reading
• Improvisation
• Phrasing
• Conclusion

Author: Chuck Anderson
Publisher: Anderson Music Publications - (42 pages)
ISBN: 0-9719730-3-2 Published: December 2003
Size: 8.5 x 11 inches (coil binding)
Product Code: 6SGF
Introduction

Fingering is one of the most universal topics of the guitar. Whether your style is Rock, Blues, Country, Jazz or Classical, these principles will improve your technique, your solos, even your sight reading.

Think of the guitar as a massive series of pathways. When you learn to connect these pathways, there are benefits not only to technique but also to creativity. All fingering on the guitar can be reduced to 6 principles of motion. Each principle has physical and musical characteristics that you can use to improve your playing.

Technically, fingering problems are linked to the guitar’s unequal tuning of perfect fourths with one major third between strings three and two. This characteristic tuning forces constant adjustments in fingering and contributes to the difficulty of learning the notes on the neck*. Note duplications, open strings and unequal tuning all contribute to the complexity of guitar fingering. Since the guitar’s strings vary in diameter, notes produced on different strings vary in tone color. Generally, thicker strings produce warmer or darker tone color. Thinner strings produce a brighter or more cutting tone color.

This book is devoted to the application of the six principles of guitar fingering. The study of fingering can be broken down into several topics of study. They are : position and technique, finger independence and strength and the principles of motion with their applications. The first step is a good hand position. Critical for technique, a good hand position eliminates the needless waste of effort and energy so typical of underdeveloped fingering technique.

There is a companion workbook for The Six Secrets of Guitar Fingering titled The Pathways of Guitar. This is the companion workbook to The Six Secrets of Guitar Fingering. Study the six principles until you fully understand their movements. Then, use these principles to work your way through the Pathways of Guitar.

• Contents
• Introduction
• Hand Position and Technique
• Finger Independence and Strength
  • 4 Finger Combinations
  • 2 Finger Combinations
  • 3 Finger Combinations
• Notes on the Fingerboard
• Motion Principles and their Applications
  • Stationary
  • Mobile
• Summary of Fingering Principles
• Basic Applications of the Motion Principles
• Priority of Motion Principles
• Motion Principles – the Details
  • Basic
  • Slide
  • Pass
  • Contraction
  • Stretch
  • Leap
• Double Stop Fingering
  • Double Stops on Adjacent Strings
  • Double Stops on Non Adjacent Strings
• Motion Principles Applied
  • Model One – Single Principle Solutions
    • Basic
    • Slide
    • Passing
    • Stretch
    • Contraction
    • Leap
• Model Two – Combined Principle Solutions
  • Slide and Stretch
  • Passing and Slide
  • Contraction and Passing
  • Stretch and Contraction
  • Slide and Contraction
  • Passing and Leap
• The Art and Science of Fingering
• Reading
• Improvisation
• Phrasing
• Conclusion