Handout 2/Jazz 12/13/06 11:44 AM Page 1 Excerpts from... DEVELOPING MUSICIANSHIP THROUGH IMPROVISATION Don y Christopher D. Azzara Eastman School of Music of the University of Rochester Richard. Gruno Eastman School of Music of the University of Rochester GIA Pulications, Inc. Chicago
Handout 2/Jazz 12/13/06 11:44 AM Page 2 Developing Musicianship through Improvisation Christopher D. Azzara Richard. Gruno Layout and music engravings: Paul Burrucker Copy editor: Elizaeth Bentley Copyright 2006 GIA Pulications, Inc. 7404 S. Mason Ave., Chicago 60638.giamusic.com All rights reserved. Printed in the United States of America 2
Handout 2/Jazz 12/13/06 11:44 AM Page 3 INTRODUCTION Do you kno someone ho can improvise? Chances are he or she knos a lot of tunes and learns ne tunes ith relative ease. It seems that improvisers can sing and/or play anything that comes to mind. Improvisers interact in the moment to create one-of-a-kind experiences. Many accomplished musicians do not think of themselves as improvisers, yet if they have something unique to say in their performance, they are improvisers. In that sense, e are all improvisers, and it is important to have opportunities throughout our lives to express ourselves creatively through improvisation. Improvisation in music is the spontaneous expression of meaningful musical ideas it is analogous to conversation in language. As presented here, key elements of improvisation include personalization, spontaneity, anticipation, prediction, interaction, and eing in the moment. Interestingly, e are orn improvisers, as evidenced y our ehavior in early childhood. This state of mind is clearly demonstrated in children s play. When not encouraged to improvise as a part of our formal music education, the very thought of improvisation invokes fear. If e let go of that fear, e find that e are improvisers. Improvisation enales musicians to express themselves from an internal source and is central to developing musicianship in all aspects of music. The process of learning music is much the same as the process of learning a language. Think for a moment aout ho you learned language. irst you listened to language. rom irth and even efore, you ere surrounded y the sound of language and conversation. You asored these sounds and ecame acculturated to the language. Soon you egan to imitate the ords and phrases you heard spoken y your parents and silings. Before you ere successful at imitating, you ere praised for your efforts and encouraged to ale even hen the sounds you ere making did not make complete sense to others. Eventually you egan to associate ords (names) ith people, things, feelings, desires, etc., and you egan to make statements and ask questions that ere your on. You egan to think and improvise in the language, and your interaction ith parents and silings as crucial to your language acquisition. After several years of developing your aility to think and speak, years of eing surrounded y print, and years of eing read to y others, you learned to read and rite. You learned to read and rite ith understanding ecause of the experiences you had listening, thinking, and speaking. Developing Musicianship through Improvisation offers an approach to learning music that is similar to the process for learning language. And ust as it is possile for everyone to learn a language and engage in meaningful conversation, it is also possile for everyone to engage in meaningful improvisation, hich is at the core of the music learning process. Like conversation in language, interaction ith others is crucial. In this ook, you are asked to listen to music and sing and play melodies and ass lines y ear. The oective is not to memorize the tunes. After all, you didn t memorize your speech as a child. Rather, the oective is to internalize so many melodies and ass lines that you egin to hear harmonic progressions (the changes, or patterns in music) and generate your on melodic lines. At the same time you uild a repertoire of tunes and a sense of musical style, you develop an understanding of harmonic progression, harmonic rhythm, and the aural skills you need to listen to music meaningfully and to interact expressively ith others. Throughout these materials you ill uild a vocaulary of tonal patterns, melodic phrases, rhythm patterns, and rhythm phrases to apply in many ays. As a part of Developing Musicianship through Improvisation you ill read and rite music, thus connecting your improvisation to meaningful experiences ith notation. The oective is to read and rite music ith comprehension. You ill hear and understand the music documented on the page in the context of hat you have created and improvised. You ill also gain a greater understanding of music you hear in everyday experiences. 3
Handout 2/Jazz 12/13/06 11:44 AM Page 4 When reading music, it is important to rememer that notation is the documentation of a creative process. Learning to read and rite music should e presented in light of that creativity. Developing your musicianship through improvisation provides a context for reading and composing music ith comprehension. When musicians express themselves y putting together their on musical thoughts in composition, they can create, develop, and reflect on musical ideas. Composers are ale to go ack or move forard in time as they create. This reflection and revision process is a good ay to discover relationships in music, and, as a result, to improve your overall musicianship. There is a poerful relationship among listening, improvising, reading, riting, and analyzing music. Each has the potential to influence the other in significant ays hen presented in the context of improvisation. With the goal of improving your musicianship, each unit in Developing Musicianship through Improvisation is ased on a familiar tune. Each unit contains six parts: 1) Repertoire; 2) Patterns and Progressions; 3) Improvising Melodic Phrases; 4) Learning to Improvise Seven Skills; 5) Reading and Writing; and 6) Learning Characteristic Solos. Improving your musicianship ill promote more spontaneous and meaningful music-making. Regardless of your musical ackground, it is never too late to egin learning tunes and harmonies y ear. This process is at the heart of improvisation, and it is perhaps the most exciting aspect of Developing Musicianship through Improvisation. DEVELOPING MEANINGUL IMPROVISATIONS The folloing are additional suggestions for your continued groth as an improviser. These suggestions and the improvisation rating scale included in the ooks provide you ith many ays to improve your musicianship as you acquire the skills presented in Developing Musicianship through Improvisation. To get started, you may ish to practice one or to of the folloing concepts at a time. With experience, you ill internalize these ideas and develop more meaningful improvisations. A good place to start this process is listening to other musicians. Become aare of ho improvisers: personalize melodies ith expressive phrasing, dynamics, and tonal and rhythmic variation. are spontaneous and in the moment. play ith space (silence). interact ith each other. develop motives. understand harmony and rhythm y ear. can play anything that comes to their mind. Developing Musicianship through Improvisation ill help you to develop the principles listed aove and ill also assist you ith the folloing ideas for improving your skills as an improvising musician. Learn a repertoire of tunes and improvised solos y ear from other musicians and y listening to recordings. Building a large repertoire of tunes y ear ill provide a asis for developing improvised solos. Listen to improvised music like an improviser notice the spontaneous interaction. Learn harmony y ear. Learn a harmonic, rhythmic, and expressive vocaulary y ear. Take risks try out some ne ideas. Surround yourself ith others orking on the same principles. 4
Handout 2/Jazz 12/13/06 11:44 AM Page 5 CONTENTS O THE BOOKS Developing Musicianship through Improvisation 1 Long, Long Ago Mary Ann Joshua Simple Gifts Don y Developing Musicianship through Improvisation 2 When the Saints Go Marching In Tinga Layo A la Nanita Nana This Old Hammer Saint Louis Blues Developing Musicianship through Improvisation 3 Red Wings Amazing Grace Blues in Motherless Child Transformation (Rhythm Changes) 5
Handout 2/Jazz 12/13/06 11:44 AM Page 6 PERORMERS ON THE ACCOMPANYING CD piano Christopher Azzara guitar Gene Bertoncini Bo Sneider ass Aleck Brinkman Jeff Campell drums/percussion John Beck Mike Melito alto saxophone Ramon Ricker tenor saxophone Kirsten Edkins trumpet Clay Jenkins Mike Kaupa tromone Mark Kellogg vocals Lisa Azzara Karl-Erik Jansson Luann Saunders 6
Handout 2/Jazz 12/13/06 11:44 AM Page 7 UNIT 5 PART 1 REPERTOIRE When first learning Don y, cover the notation. 1. LISTEN to Don y melody (, Track 27) and ass line (, Track 28). 2. With the accompaniment (, Track 29) SING the melody y ear ith ords and on a syllale such as doo and SING the ass line y ear on doo. 3. PLAY your instrument y ear on the clicks immediately folloing each melodic pattern (CD 2, Track 30). 4. With the accompaniment (, Track 29) PLAY the melody and ass line on your instrument ith the appropriate style of articulation. Personalize the tune using expressive phrasing, dynamics, and tonal and rhythmic variation. Don y Tracks 27 30 Melody Bass Line 4 4 # I m gon - na Œ Don y lay don my heav - y load Œ. don y # the American olk Song riv - er - side, Œ. don y # the riv-er - side, Œ. don y # the riv - er - side. # I m gon - na lay don my heav - y load Œ I ain t gon-na Œ. don y. J stud - y # the riv - er - side, ar no more, and J I ain t gon- na stud - y. stud - y ar no ar no more, more. Ó 7
Handout 2/Jazz 12/13/06 11:44 AM Page 8. stud-y /C ar no more. 7 Œ I ain t gon-na J. stud - y ar no more J I ain t gon- na. stud - y ar no more, Ó stud - y ar no more. PART 2 PATTERNS AND PROGRESSIONS RHYTHM PATTERNS AND SERIES O PATTERNS IN DUPLE METER (Sing Style) Learn the patterns y ear echo the patterns performed on the CD or y your teacher. When first learning the patterns, cover the notation. Echo Rhythm Patterns for Don y Don y Tracks 31 32 Learning these patterns is similar to learning ords in a language. Becoming familiar ith these patterns ill improve your vocaulary for improvising rhythms to this tune. 1. ECHO the duple patterns on the syllale ah, Track 31. 2. ECHO the patterns ith rhythm syllales, Track 32. The rhythm syllales ill help you to organize and rememer the patterns. 3. ECHO the patterns on your instrument on DO. Use the style(s) of articulation appropriate for Don y., Track 31 or 32. The numer (2) tells ho many macroeats (DU) are in a measure. The symol ( h ) indicates hat kind of note is a macroeat (DU). ( h =DU; q q =DU DE; =DU DI DE DI) 8
Handout 2/Jazz 12/13/06 11:44 AM Page 9 1 3 5 7 2 4 2 H 4 H Œ. 2 2 4 H 2 4 H Œ 2 4 2 H 4 6 H 2 4 H. 2 4 H. 8 4 REPEAT AS NECESSARY Improvise Rhythm Patterns for Don y No that you are familiar ith the rhythm patterns on, Tracks 31 and 32, improvise patterns using the rhythm vocaulary that you have learned. 1. Listen to the rhythm patterns performed on, Track 31. After each pattern, a different pattern using the syllale ah. Don y Tracks 31 32 2. Listen to the rhythm patterns performed on, Track 32. After each pattern, a different pattern using rhythm syllales. 3. patterns on your instrument on DO. Use the style(s) of articulation appropriate for Don y., Track 31 or 32. Example: 1 2 LISTEN 2 4 H 2 4 H 2 4 H Œ. Œ 2 4 H Continue ith rhythm patterns 3 through 8 (, Tracks 31 32). 9
Handout 2/Jazz 12/13/06 11:44 AM Page 10 Echo and Improvise Series of Rhythm Patterns in Duple Meter Don y Tracks 33 34 Improvising a series of patterns is like speaking a sentence or phrase in language. 1. ECHO rhythm phrases using the syllale ah (, Track 33), ith rhythm syllales (, Track 34), and ith your instrument on DO (, Track 33 or 34). 2. After each rhythm phrase, a different phrase using the syllale ah (, Track 33), ith rhythm syllales (, Track 34), and ith your instrument (, Track 33 or 34). The numer (2) tells ho many macroeats (DU) are in a measure. The symol ( h ) indicates hat kind of note is a macroeat (DU). ( h=du; q q=du DE; =DU DI DE DI) 1 LISTEN (Example) 2 4 H 2 4 H. 2 LISTEN 3 LISTEN 4 LISTEN 2 4 H 2 4 H 2 4 H Œ. Œ 2 4 H 2 4 H. 2 4 H REPEAT AS NECESSARY 10
Handout 2/Jazz 12/13/06 11:44 AM Page 11 TONAL PATTERNS AND HARMONIC PROGRESSIONS You have ust learned to improvise rhythm patterns and phrases of rhythm patterns. No learn to improvise tonal patterns and harmonic progressions. Improve your tonal vocaulary y learning the folloing tonal patterns, first ith a neutral syllale and then ith solfège. Learn the patterns y ear echo the patterns performed on the CD or y your teacher. When first learning the patterns, cover the notation. Echo Tonal Patterns for Don y ( Maor Tonic, Sudominant, and Dominant) 1. SING the folloing patterns ith the syllale um (, Track 35). 2. Then, SING the folloing patterns ith solfège (, Track 36). 3. PLAY each pattern on your instrument (, Track 35 or 36). Estalish Tonality (Concert Pitch)? C7 I V7 I Don y Tracks 35 36 1 2 3 4 5 6 7 8 9 10 11 12 REPEAT AS NECESSARY SING the Root (DO, A, or SO) and NAME the unction (Tonic, Sudominant, or Dominant) in Maor 1. LISTEN to the tonal patterns performed on, Track 36. After each pattern, SING the root of that function using tonal syllales, and immediately identify the harmonic function. SING: DO and Tonic, A and Sudominant, or SO and Dominant. (=Tonic; Bf=Sudominant; C7=Dominant) Don y Track 36 2. LISTEN again, and PLAY the roots on your instrument. 11
Handout 2/Jazz 12/13/06 11:44 AM Page 12 indicates TONIC function, Bf indicates a SUBDOMINANT function, and C7 indicates DOMINANT function. A TONIC pattern in maor tonality includes any comination of DO MI SO ; a SUBDOMINANT pattern includes any comination of A LA DO ; and a DOMINANT pattern includes any comination of SO A RE TI. SOLÈGE SHOULD ALWAYS BE SUNG NOT SPOKEN 1 2 3 4 5 6 7 8 DO TONIC 9 10 11 12 A SUBDOMINANT SO DOMINANT REPEAT AS NECESSARY Improvise Tonal Patterns for Don y (Tonic, Sudominant, and Dominant unctions in Maor) Don y Tracks 35 36 1. LISTEN again to the tonal patterns performed on, Tracks 35 and 36. 2. After each pattern, a different pattern ith the same harmonic function ith a neutral syllale ( um, Track 35). 3. After each pattern, a different pattern ith the same harmonic function ith solfège (, Track 36). 4. After each pattern, a different pattern ith the same harmonic function on your instrument (, Track 35 or 36). Example: LISTEN LISTEN 1 2 3 LISTEN 12 Continue ith tonal patterns 4 through 12 (, Tracks 35 36).
Handout 2/Jazz 12/13/06 11:44 AM Page 13 ECHO and Series of Tonic, Sudominant, and Dominant Patterns in Maor Improvising a series of patterns to make a harmonic progression in music is like speaking a sentence or phrase in language. Anticipate and predict the harmonic progression. Where does the harmony go and here might it go? 1. Using the syllale um, ECHO (SING) the series of patterns (, Track 37). 2. Using solfège, ECHO (SING) the series of patterns (, Track 38). Don y Tracks 37 38 3. ECHO the series of patterns on your instrument (, Track 37 or 38). 4. After each series of patterns, SING the ass line (roots) using solfège (, Track 38). 5. After each series of patterns, PLAY the ass line (roots) on your instrument (, Track 37 or 38). 6. After each series of patterns, a different series of patterns over the same harmonic progression using solfège (, Track 38), ith a neutral syllale ( um, Track 37), and on your instrument (, Track 37 or 38). Example: LISTEN ECHO ROOTS 13
Handout 2/Jazz 12/13/06 11:44 AM Page 14 1 LISTEN ECHO ROOTS 2 LISTEN ECHO ROOTS 3 LISTEN ECHO ROOTS 4 LISTEN ECHO ROOTS 14
Handout 2/Jazz 12/13/06 11:44 AM Page 15 PART 3 IMPROVISING MELODIC PHRASES Sing improvised melodies to familiar repertoire. 1. Listen to, Track 39. The performer sings the first phrase (antecedent phrase) of Don y ; instead of continuing ith the original second phrase (consequent phrase), you hear an improvised melody that continues the harmonic progression. Listen to all four antecedent phrases and improvised consequent phrases. Don y Track 39 Example: Don y MELODY 4 # Œ. #. #.. J MELODY # Œ. # Œ MELODY. J J. Ó /C # MELODY ( 7 ). J J. Ó 15
Handout 2/Jazz 12/13/06 11:44 AM Page 16 Don y Track 40 2. Listen to, Track 40. After hearing the first phrase (antecedent phrase) of Don y, continue the harmonic progression of the tune and sing a second phrase (consequent phrase) that is different from the original melody. Continue in a similar manner ith the remaining phrases. Direct your melody toard chord tones, e.g., DO, MI, SO (, Track 40). 3. Perform in a similar manner on your instrument (, Track 40). No, you try: MELODY 4 # Œ. # J Û # MELODY Œ. # MELODY. J J /C. Ó MELODY ( 7). J J. Ó J Û Don y Track 49 4. Improvise oth antecedent and consequent phrases to the harmonic progression of the tune (, Track 49). (The accompaniment repeats three times.) 16
Handout 2/Jazz 12/13/06 11:44 AM Page 17 PART 4 LEARNING TO TONALLY RHYTHMICALLY EXPRESSIVELY SEVEN SKILLS Before you egin the Seven Skills, revie Don y (, Tracks 27 30) 1. SING and PLAY the melody. 2. SING and PLAY the ass line (roots). Don y Tracks 27 30, 41 Skill 1 1. Listen to, Track 41. The performer improvises rhythm patterns to the ass line of Don y. Example: Don y 4 ΠΠΠΠΠΠΠΠ/C 7 Π17
Handout 2/Jazz 12/13/06 11:44 AM Page 18 Don y Track 49 2. Improvise rhythm patterns to the ass line of Don y. SING your improvisation ith the neutral syllale doo, and then PLAY it on your instrument (, Track 49). Skill 2 1. Estalish tonality in maor and SING each of the four parts elo for the harmonic functions of Don y. or example, SING DO, A, SO, DO DO, DO, TI, DO MI, A, A, MI SO, LA, SO, SO. 2. Play each part on your instrument. When in a group setting, each student should select a part to sing and play for Skills 3 and 4. When performing alone, start ith the ass line (chord roots Skill 1) and then e sure to perform Skills 3 and 4 using the other three parts as ell. Example of Tonic, Sudominant, and Dominant Harmony in Maor 4 Parts: Bass Line DO, A, and SO DO and TI MI and A DO DO A DO SO TI DO DO SO and LA MI A A MI SO LA SO SO TONIC SUBDOMINANT DOMINANT TONIC I IV V7 I Skill 3 Don y Tracks 41, 49 Learn the harmonic rhythm for Don y using the pitches from the harmony in Skill 2. SING every part. PLAY these parts on your instrument (, Track 49). Skill 4 Using a neutral syllale (e.g., doo ), improvise rhythm patterns to the harmonic progression using pitches learned in Skill 2 (#2, 3, 4, and 5 starting on the facing page). Select a part and improvise rhythm patterns. Do this ith each part. Interact ith the melody (#1) and other parts (, Track 49). irst SING, then PLAY these parts on your instrument. Listen to, Track 41 for an example using the ass line. 18
Handout 2/Jazz 12/13/06 11:44 AM Page 19 Don y MELODY 1 4 # Œ. # Œ. #. J Œ. # Ó.. # /C Œ. J Ó 7 Œ Œ. # J. J BASS LINE; RHYTHM 2 4 Œ C 7 /C 7 19
Handout 2/Jazz 12/13/06 11:44 AM Page 20 RHYTHM ON DO AND TI 3 4 ΠC 7 /C 7 RHYTHM ON MI AND A 4 4 Π/C 7 20
Handout 2/Jazz 12/13/06 11:44 AM Page 21 RHYTHM ON SO AND LA 5 4 4 Œ /C 7 Skill 5 1. Listen to, Track 42. The performer improvises tonal patterns to the harmonic progression using macroeats. Don y Track 42 Example: 4 4 Œ Ó Ó Ó /C 7 Ó Ó 21
Handout 2/Jazz 12/13/06 11:44 AM Page 22 Don y Tracks 43, 49 2. Using macroeats improvise (SING, then PLAY on your instrument) tonal patterns to the harmonic progression (, Track 49). Skill 6 1. Listen to, Track 43. The performer improvises tonal patterns and rhythm patterns to the harmonic progression. Example: 4 4. Ó Œ Ó. Œ Œ /C... Œ 7 Œ. Œ Don y Tracks 44, 49 2. Improvise (SING, then PLAY on your instrument) tonal patterns and rhythm patterns to the harmonic progression (, Track 49). Skill 7 1. Listen to, Track 44. The performer improvises y decorating and emellishing the melodic material in Skill 6. Example: 4 # Œ # Œ # Œ n # n Œ Œ Œ 22 n # Œ # Œ. Œ
Handout 2/Jazz 12/13/06 11:44 AM Page 23 Œ n Œ # Œ # Œ # n Œ Œ Œ /C. Œ n 7 Œ.. J Œ Œ Œ # Ó Œ n Œ 2. Decorate and emellish the melodic material in Skill 6. Improvise melodies to the harmonic progression (, Track 49). Learn to SING and PLAY the solos provided (, Tracks 45, 46, 47, and 48). to Don y (, Track 49). See page v for suggestions on developing meaningful improvisations. Don y Tracks 45 49 Rhythm Writing PART 5 READING AND WRITING 1. Write the patterns on page 71 or notate improvised patterns. Estalish meter and rememer to group the notes into patterns and phrases efore riting them. 1 2 3 4 5 6 7 8 23
Handout 2/Jazz 12/13/06 11:44 AM Page 24 2. Write the series of patterns on page 72 or notate an improvised series of patterns. 1 2 3 4 Tonal Writing 1. Write the patterns on page 73 or notate improvised patterns. Estalish tonality and rememer to group the notes into patterns and phrases efore riting them. 1 2 3 4 5 6 7 8 9 10 11 12 2. Write the series of patterns on page 76 or notate an improvised series of patterns for the progression. 1 2 3 4 24
Handout 2/Jazz 12/13/06 11:44 AM Page 25 READ COMPOSE READ Don y and to the harmonic progression (, Track 49). SING and PLAY the melody and/or ass line on your instrument. Also, COMPOSE other melodies using the harmonic progression indicated and the tonal and rhythm vocaulary that you have learned. MELODY 1 4 # Don y Œ. # Œ. #. J Œ. # Ó.. # /C Œ. J Ó 7 Œ Œ. # J. J BASS LINE 2 4 4 Œ Œ. Œ Œ Œ Œ. Œ Œ Œ Œ Œ. Œ. Œ Œ /C Œ Œ Œ Œ Œ. Œ Œ Œ Œ Œ Œ Œ 7 Œ Œ Œ Œ Œ Œ 25
Handout 2/Jazz 12/13/06 11:44 AM Page 26 3 4 J Û /C 7 J Û COMPOSE 4 4 4 C7 C7 /C 7 B C7 26
Handout 2/Jazz 12/13/06 11:44 AM Page 27 PART 6 LEARNING SOLOS Listen to, Tracks 45 48. The performer plays an interpretation of the melody folloed y an improvised solo. Learn to sing and play the solo performed on the CD. Use the space provided to finish transcriing the solo on, Track 45, or to notate other solos. Analyze the solos for vocaulary and ideas to incorporate into your on improvised solos. See page v for suggestions aout developing meaningful improvisations. Perform ith the accompaniment on, Track 49. Don y Tracks 45 49 Don y 4 4 Medium sing # Œ # Œ # Œ n # n Œ Œ Œ /C. Œ Œ n 7 # Œ Œ # Œ.. J Œ Œ Œ # Ó Œ n Œ Ó C7 The first 32 measures presented here ere composed y Christopher Azzara Don y the Lakeside. 27
Handout 2/Jazz 12/13/06 11:44 AM Page 28 /C C7 7 B C7 C7 C7 /C 7 B C7 28
Handout 2/Jazz 12/13/06 11:44 AM Page 29 DEVELOPING MUSICIANSHIP THROUGH IMPROVISATION Christopher D. Azzara Richard. Gruno Learn to improvise ith this groundreaking, state-of-the-art ook and CD set! With Developing Musicianship through Improvisation, you ill learn to improvise as readily as you ould oin in a conversation. Using the tunes in this ook, you ill uild a vocaulary of tonal patterns, melodic phrases, rhythm patterns, and rhythm phrases that you can apply to a ide range of music, including classical, azz, and folk styles. You ill also read and rite music, connecting your improvisation to meaningful experiences ith notation. Each unit in Developing Musicianship through Improvisation contains six components: 1) Repertoire, 2) Patterns and Progressions, 3) Improvising Melodic Phrases, 4) Learning to Improvise Seven Skills, 5) Reading and Writing, and 6) Learning Solos. Regardless of your musical ackground, you can play tunes and learn harmony y ear, skills at the heart of improvisation. This intuitive and engaging approach to Developing Musicianship through Improvisation is a maor advance in music teaching and learning. Book and 2-CD sets in this series availale from GIA Pulications: C Instruments (Trele Clef) (G-6657).......................... $34.95 C Instruments (Bass Clef) (G-6816)............................ 34.95 B Instruments (G-6820)..................................... 34.95 E Instruments (G-6817)..................................... 34.95 Instruments (G-6818)...................................... 34.95 Vocal (G-6819)............................................. 34.95 To order, call 1.800.GIA.1358 or 708-496-3800 or fax 708-496-3828 E-mail: custserv@giamusic.com Or place an order via our We site, http://.giamusic.com 29