〖The Guitarist's Guide to Composing and Improvising by Jon Damian（吉他即兴与创作指南）〗

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〖The Guitarist's Guide to Composing and Improvising by Jon Damian（吉他即兴与创作指南）〗
Getting Around
　　As all the elements of a musical sound are interdependent, so too are all the chapters and topics in this book interconnected. When a musical sound is produced, there is complete presence of loudness or softness, tone color, rhythm, direction, pitch, shape, and texture. When improvising and composing, an ability to react to all these elements adds to our creative resources. Since all music contains these elements, guitarists of all levels and idiomatic interests will find these pages helpful.
　　Each chapter begins with studies that are accessible to all levels. As each chapter progresses, its studies become more advanced. If an unknown technique or question arises-for example, concerning a scale or an interval-you may wish to flip to chapter 6, "Foundations." This chapter is a collection of study and reference materials, and it will help you progress deeper into the earlier chapters.
　　Even if you are an advanced player, try all the ideas in this book. The most basic sounding/looking concept may surprise you with its challenge. Also, the more advanced studies will bring an awareness of the importance of fundamentals.
　　Before continuing into the rest of the book check out the "Notation Symbols" page that follows these opening pages. Also, in case of an emergency, refer to the "Incredible Time Machine Study" at the end of chapter 6.
　　Here is a brief summary of each chapter:
　　Chapter 1: The Basic Sound Dimensions. This chapter contains improvisation and awareness studies in dynamics, rhythm, direction, and articulation. These are the essential height, width, depth, and shape producers behind our musical ideas.
　　Chapter 2: The Single Note Line. This chapter includes ideas for developing a single note line for tune improvisation and composition. The "Palette Chart," detailed in chapter 4, is introduced here. Tunes inspired by these techniques are included for study and play along.
　　Chapter 3: Counterpoint. Included here is use of canon in a modal improvisation, simple counterpoint etudes, counterpoint techniques for improvisation of standard tune progressions, the counterpoint diary, and a continuation of counterpoint topics introduced in chapter 2. Compositions and examples inspired by these contrapuntal techniques are included for study and play along.
　　Chapter 4: 3-Note Structures-The Palette Chart. The Palette Chart is explained in detail. This chart serves as a directory for studies in 3-note structures. Techniques are presented for quartal voicings, cluster voicings, and independent voice motion in 3-note structures. Tunes and examples focusing on Palette Chart concepts are used for study and play along.
　　Chapter 5: Form-Putting It All Together. Extending ideas over an overall form is a challenge. Forms are introduced with suggestions on how to build your own.
　　Chapter 6: Foundations. This chapter contains scale studies, ear studies, interval and arpeggio studies, reference sheets and templates, a bibliography, crossword puzzle, and the Incredible Time Machine Study.
　　Please enjoy the book. I have introduced these studies to guitarists of many musical persuasions-rock, funk, jazz, and classical-and have heard some amazing, creative adaptations. The most important thing is to write etudes from the ideas presented here. By writing, you push an idea deeper into your musical belly. Send me some of your own inspirations. I would love to hear them.
　　
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〖The Guitarist's Guide to Composing and Improvising by Jon Damian（吉他即兴与创作指南）〗