Guitar Lab of various professors – 15-hour module 2 CFA

Form: 15 hours
CFA: 2
Teachers: Gabriele Giovannini, William Stravato, Marco Manusso, Antonio Affrunti, Nico Stufano, and Claudio Ricci 
Frequency: Every 2 weeks
Entry Requirements: None
Class size: 8 students
Places available: 8
Limitations: Open to all students of academic courses, traditional two-year courses and pre-academic guitar courses, as seen in the related study plan. Open to students as personalized courses for additional fees (for information on costs, contact the Educational Secretariat).

FINGERBOARD TECHNIQUE by William Stravato

  • Contents:

  • The first topic is activity, but it is an activity and set of exercises to improve two fundamental elements of execution: 1 ) Knowledge and development of interviews and scales through a process of visual memorization linked to horizontal / vertical / oblique movements

THE STYLES OF THE ROCK GUITAR THROUGH THE STORY  by William Stravato

  • Contents:

  • It is not a question of thinking about a rock, but it is specifically designed to support the development of the techniques of the 70’s to today. A monograph will be tackled in bi-weekly cycles, so as to be able to give an exhaustive picture of electric guitar over an academic year.

ACOUSTIC BIOTECHNOLOGY (FINGERSTYLE)  by Marco Manusso

  • Contents:
  • An in-depth overview of the acoustic guitar techniques: from Robert Johnson to Tommy Emmanuel, from John Lennon to Keith Richards, from blues to country, from rock to pop.
  • “The acoustic guitar is that special glue that brings out the magic from the music” (Keith Richards)
  • “The guitar must have both an electric motor and an acoustic motor” (Herman Usso)

GUITAR TECHNOLOGY by Marco Manusso

  • Contents:
  • The sound of electrical sound: from the effects to the choice of pickups, from the effects to the amplifiers, from the valves to the loudspeakers, from analog technology to digital simulators.
  • The history of the electric guitar and its evolution from the urban blues to the present day.

BOTTLENECK & SLIDE by Marco Manusso

  • Contents:
  • Carbonari of the six strings, outcasts of the “bottleneck”, silent and “Hawaiian” minorities, hardened dobroisti, followers of Duane Allman and Sonny Landreth … it’s time for the rescue!
  • Styles and techniques that revolve and above all “slip” on the strings of the electric and acoustic guitar.

PROFESSIONAL GEAR  by Antonio Affrunti

  • Contents:
  • Explanation on the use of pedal and / or rack effects: from the effects of dynamics to those of delay.
  • Composition of a pedal board and its management: from the wiring to the power supply, from the layout of the pedals to the right size of a case for pedals.
  • Amplification and direct relationship with the use of pedals.
  • Complex audio signal routing systems for professional use.
  • Musical styles and relationship with the effects.
  • Use of effects and amplification in the recording studio.

PROPEDEUTICAL WORKSHOP AT THE IMPROVISATION of Nico Stufano

  • Contents:
  • Study of the intervals (in position and along the keyboard)
  • Construction of the phrasing through the intervals presented in the major and pentatonic scales
  • Movement of triads, arpeggios, and pentatonic intervals through intervals
  • Diatonic transport of melodies derived from selected intervals
  • Ascending and descending movements of variable intervals combined with fixed note and diatonic harmonization of the resulting
  • Chromatic approach within the major scale: single note, triad, arpeggio, pentatonic, full scale
  • Construction of two or more notes by the pandiatonic use of the scale
  • Study of constructive and expressive elements characterizing the phrasing: staccato, legato, pauses, swing pronunciation, localizations of musical phrases within the measurements.

TECHNIQUE FOR GUITAR … “CLASSIC”  by Claudio Ricci

  • Contents:
  • Body-setting techniques, care of the setting of the hands, with reference to generic and natural posture principles, which support the subjective “body-instrument” approach and details of the “classic technique ”, Care of sound, touch, dynamics, phonic sound effects expressions.
  • Analysis of the scores, tonal and modal feedback with reference to the various periods, from the 1500’s to the 1900’s, conception of time and interpretation.
  • Finger-style approaches and comparisons of the Delta Blues and its stylistic-expressive evolution, up to the contemporary finger-style.
  • Use of the Classical technique in Modern styles, adaptation of Postures, the Instrument and sound.
  • listen to classical and contemporary literature.

GYPSY JAZZ THE ESPRIT MANOUCHE by Gabriele Giovannini

  • Contents:
  • Guitar deepening of the Gypsy Jazz (more precisely Jazz Manouche) started with Django Reinhardt to the present day, aimed at all guitarists who want to expand their knowledge about the instrument.
  • The Jazz Manouche is a style of purely guitar music, based on an extremely virtuous and emotional phrasing, with a typical Gitano flavor.
  • The course will address the following points:
  • left and right hand technique and instrument setup;
  • analysis of all the accompanying styles: from the typical Manouche pumps to the Bossa Gypsy, passing through the Bolero, the Waltz and study of the used voicings;
  • study of Django Reinhardt and the evolution of his music, from the typical formation in acoustic trio up to the electric period with more jazzy formation. Transcriptions and summary of the style; 
  • analysis of phrasing and application also to other musical genres with a detailed study of the greatest living exponents: Angelo Debarre, Stochelo Rosenberg and Bireli Lagrene, with further study of the language and the innovations that the latter brought to this kind of European jazz.

JAZZ IMPROVISATION ON THE GUITAR by Cristiano Mastroianni

  • Contents:
  • Study of the arpeggios of 4 voices on the guitar (fingerings and harmonic connections) – Use of chromatic approaches on the notes of the arpeggios – Target notes – Visualization of various harmonic-melodic patterns on the instrument and rationalization of the geometries – Linearization of the chords and the changes through the use of one or more colors within the scales (bebop scales and derivatives). – Use of tensions and visualization on the guitar (the 9th) – Application of the previous studies to blues and II-VI major. Study of short sentences – The ear and the tonal phrasing bebop (the art of falling always on your feet).

IMPROVISION JAZZ ON THE GUITAR 2 by Cristiano Mastroianni

  • Contents:
  • horizontal modal scales – Visualization of the modal scales – Improvisation on firm chords and use of various types of intervals – differences between the approach to the horizontal approach to improvisation interpreting it – Hue minor and minor bebop stairs.