Segmenting Bebop Scales 124 Ascending and Descending Permutations

Segmenting Bebop Scales 124 Ascending and Descending Permutations by Bruce Arnold

Segmenting Bebop Scales 124 Ascending and Descending Permutations by Bruce Arnold

This book by Bruce Arnold “Segmenting Bebop Scales 124 Ascending and Descending Permutations,” is an in-depth analysis on the application of segmenting Bebop scales into 124 ascending and descending permutations. The meticulous examination delves into the intricate patterns derived from these segmented scales, shedding light on their musical significance and structural variations especially as it relates to jazz improvisation.

By scrutinizing the ascending and descending permutations of Bebop scales, a comprehensive understanding of their melodic properties is achieved. This study contributes to the scholarly discourse on music theory and improvisation techniques, offering valuable insights into the creative possibilities unlocked by segmenting Bebop scales.

The research in this book elucidates the intricate nuances of Bebop scales and their permutations, providing a rich resource for musicians and scholars alike to explore the complexities of this musical domain especially in how it relates to the jazz sound and octatonic scales.

Working with the “Segmenting Bebop Scales 124 Ascending and Descending Permutations” course is an important part to creating the Bebop sound used in jazz improvisation.  As you learned in the “124 Bebop Scales” course, Bebop scales are 8 note scales, these are usually common seven notes scales where an added note is tacked on which creates a 3 note chromatic passage at some point within the scale.

To get the Bebop effect musicians tend to gravitate towards not only segmenting Bebop scales but also gravitating towards the section of the Bebop scale that contains the added note.  By doing this you create the characteristic jazz sound often used in the Bebop era.

In this course Bruce Arnold takes you through some of the common Bebop scales and segments them both ascending and descending.  There are also a host of other octatonic scales found in the course, 124 Bebop Scales to be exact, that could be used as Bebop scales but also could be used as an eight note scale to compose or improvise with in jazz improvisation or other idioms.

Segmenting Bebop scales is present in 12 keys for all 124 Bebop Scales.  This is a vast resource for both developing a jazz sound but also for exploring octatonic scales.  I’d recommend starting with the more common Bebop scales which are listed on page 2 of the course.  I would learn to segment two or three Bebop scales before moving on the “Segmenting Bebop Scales with Approach Notes.“ or exploring some of the other octatonic scales found in the course.

You will quickly find that not only do these segmented Bebop scales give you a strong “Jazz Sound” but they also helps you understanding time and groove. In the traditional way of using these scales you need to put the chord tones found in the Bebop scale on the beat. This takes a while especially if you have never thought of playing scales this way.

The main part of this course is found in the 248 pages that segment the Bebop scales ascending and then again another 248 pages that segment the Bebop scales descending.  Being able to segment a Bebop scale means you know the scale in a much more profound way and this technique is often found in jazz improvisation and is key to creating the jazz sound so often used in the Bebop style.

This course will teach you to start the Bebop scale in 4 different places which will prepare you for the next course “Segmenting Bebop Scales with Approach Notes.

You can purchase this book at Muse Eek Publishing Inc.
You can also purchase this book at Bruce Arnold Patreon Site.

Table of Contents:

Segmenting Bebop Scales
Common Bebop Scales
Course Breakdown
124 Bebop Scales
Bebop Scales and Chords They Work Over
How to Practice Bebop Scales
Segmenting Bebop Scales Examples
Conclusion

List of Contents for Segmenting Bebop Scale Course:

60 Page PDF
124 Bebop Scales Ascending (248 pages) with midi files
124 Bebop Scales Descending (248 pages) with midi files

Jam Tracks V1 (MP3’s of 10 chord types in all 12 keys)

ISBN: 978-1-59489-289-9

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

 

Segmenting Bebop Scales 124 Ascending and Descending Permutations by Bruce Arnold
Guitarist and Author Bruce Arnold

Bebop Scales 124 Bebop Scales and Their Application

Bebop-Scales-124-and-Their-Application
Bebop Scales 124 Bebop Scales and Their Application

This book by Bruce Arnold titled “Bebop Scales 124 Bebop Scales and Their Application” delves into an extensive exploration of various Bebop scales and their practical use in musical contexts. Within this comprehensive resource, readers can expect to find in-depth explanations of 124 distinct Bebop scales, along with detailed insights into how these scales can be effectively applied in musical compositions and jazz improvisation.

By meticulously examining each scale and its unique characteristics, this book equips musicians with a valuable toolkit for enhancing their understanding and utilization of Bebop scales in their musical endeavors. With a focus on both theoretical knowledge and practical application, “Bebop Scales 124 Bebop Scales and Their Application” serves as a valuable reference for musicians seeking to expand their repertoire and deepen their grasp of Jazz theory. Through its systematic approach and detailed analysis, this document offers a comprehensive guide to mastering Bebop scales and leveraging their full potential in musical performance and composition.

Bebop scales are some of the most commonly known octatonic scales and are one of the techniques used by jazz musician to create a “Bebop Sound.” They are used in a very specific way so they are in a special class of eight note scales. Most musicians are familiar with a small subset of Bebop scales used in jazz improvisation.

This course looks at the common Bebop scales as well as many more. You can see from the Table of Contents below that many aspects of Bebop scales are covered as well as an introduction to some of the other courses which cover; Segmenting Bebop scales on Muse Eek Publishing website or Segmenting Bebop Scales on Patreon and Segmenting Bebop scales with Approaches on Muse Eek Publishing Website or Segmenting Bebop Scales with Approaches on Patreon.

You would see by checking out these three courses that you get an in-depth study of Bebop Scales which goes way beyond most books on the subject.  Theses three courses mentioned above will really help you to grasp the full potential of Bebop Scales. Overall “Bebop Scales 124 Bebop Scales and Their Application” is a great place to start learning Bebop Scales, understanding their use and seeing future ways that you can practice and apply them.  

Table of Contents:

Bebop Scales

Common Bebop Scales

Course Breakdown

29 Octatonic Scales

Seventh Chords Continued

124 Bebop Scales Chromatic Modes of Bebop Scales

Bebop Scales and Chords They Work Over

Going Beyond Bebop Scales

Diatonic Chords of Eight Note Scales; an introduction

Chord Tones and Available Tensions

Passing Diminished

Chords Derived from an Eight Note Scale; an introduction

Application of Eight Note Scales; an introduction

As you can see from the TOC this course explores Bebop Scales on a very deep level.  It also includes references to Pitch Class Set Theory so that you can see how all scales are related back to the 29 Eight Note Scale Prime Forms.

Bruce Arnold’s new book called Bebop Scales 124 Bebop Scales and Their Application is for sale at Muse Eek Publishing Inc. website or at Bruce Arnold’s Patreon site.   There are links below to these sites:

 

Bebop Scales book on Muse Eek Publishing WebsiteBebop-Scales-124-and-Their-Application

Bebop Scales book on Patreon SiteBebop-Scales-124-and-Their-Application

Below are some excerpts from the “Bebop Scales 124 Bebop scales and Their Application.”  Again, Bruce Arnold gives you an overview of the three courses that make up the thorough examination of Bebop scales and beyond.

 

Forward page from Bebop Scales 124 Bebop Scales and Their Application

Bebop Scales 124 Bebop Scales and Their Application

Chromatic Modes of a Bebop Scale Example

Bebop Scales 124 Bebop Scales and Their Application Chromatic Modes
Chromatic Modes of a Bebop Scale Example

 

Chords that Bebop Scales Work Over Example

Bebop Scales 124 Bebop Scales and Their Application  Chords that Bebop Scales Work Over Example

 

495 Bebop Scale List Excerpt

Bebop Scales 124 Bebop Scales and Their Application 495 Bebop Scale List excerpt from the book Bebop Scales: 124 Bebop Scales and Their Application

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

 

Bebop Scales: 124 Bebop Scales and Their Application by Bruce Arnold
Bruce Arnold Playing a Rayco Resophonic Lab Slide Guitar

Bruce Arnolds Jazz Guitar Summit NYC

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TrueFire, Bruce Arnold and many of NYC’s best guitar educators team up to present: Bruce Arnold’s Jazz Guitar Summit NYC. An incredible 525 minutes of handpicked insights from Jazz Guitar Masters.

Among the plethora of great guitarists, it is the rare one who can also communicate ideas and techniques. But these were exactly the kinds of musicians that guitarist and educator Bruce Arnold gathered at his annual Summer Guitar Intensives in New York City. He knew that the students would pay more attention if they knew that their teachers were not just giving them great information, but that they were also monster players. So he chose very carefully and created an environment for learning that truly was a Summit. When the educational video company True Fire learned of this project, they offered to videotape selected lessons, and the result is Bruce Arnold’s Jazz Guitar Summit NYC, a course of almost 9 hours of enlightening demonstrations, and a cross section of what some of the best guitarists around were fascinated by within that juncture of time, as well.

Bruce Arnolds Jazz Guitar Summit NYC

Interestingly, the artists involved were not all specifically known as jazz players. For example. Sheryl Bailey has a solid reputation for her no holds barred rock and roll sound, and Dusan Bogdanovic is a formidable, touring classical guitarist. Yet all of these musicians had something valuable to add to the vocabulary of jazz, and they do so with clarity and precision. (And it should also be mentioned that this is also a gender neutral gathering; all choices were made on quality and content with no old boy network in sight!)

Each player has his or her own particular item to teach, and the curriculum is extensive. Scales, modes, reharmonization, improvisation, comping and playing technique are only some of the subjects covered. In particular the sessions with Dusan Bogdanovic, Leni Stern and Brad Shepik shed light on how to play and adapt African and Balkan polyrhythms to jazz, a subject of increasing interest these days. As Bruce puts it no matter what genre you are interested in, from jazz to classical to world music, you will find something here to chew on. Im proud of this course. It is full of fascinating ideas that are just waiting to be explored. I think that after learning all that you think you can from it, you will return to it –maybe years later– and realize there was something you didn’t quite catch, or maybe were not ready for. And now you are.

This summit of distinguished faculty includes: Bruce Bartlett, Sheryl Bailey, Roni Ben-Hur, Dusan Bogdanovic, Gene Ess, Mimi Fox, Jane Getter, John Hart, Randy Johnston, Peter Leitch, Peter McCann, Brad Shepik, Leni Stern, Kenny Wessel, Jack Wilkins and of course, Bruce Arnold.

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Bruce-Arnold-Guitar-Flutterby-22 Guitarist Bruce Arnold BLOG Logo jazz guitar

Bruce Arnold’s Music Education Genealogy Chart

music education

Guitarist Bruce Arnold BLOG Logo music education

The intersections between jazz and classical music have long fascinated me, and within my own music I often use contemporary classical ideas. For the most part this was a personal journey that started bearing fruit back in the early 1990’s from a combination of my interest in hexatonic scales and a thirst for knowledge that was spurred by access to the Princeton University Music Library during my 30 year tenure there as a music instructor. But this journey was also started in part from the influences that my teachers Charlie Banacos and Jerry Bergonzi had on me in my formative years and their ways of organizing materials for practice.

I recently found the music education genealogical chart of my teachers Charles Banacos and Jerry Bergonzi Interestingly it is also a timeline showing the flow of the teaching of classical music into the teaching of its elements as applied to jazz. I think people generally don’t realize how the techniques used in composing and playing classical music are closely related to their counterparts in Jazz.

Looking at the genealogy chart, I also realized that I am the product of these great music teachers, and those who taught them. I owe so much to Charlie and Jerry because they took the time to show me what they knew, all in the cause of education, and that is why I feel compelled to pass the torch to my own students.. Charles Banacos and Jerry Bergonzi, were gurus in the fullest sense of the word. Every lesson with them was a revelation that encouraged me to study and practice more, and I would not be the musician I am now, without their guidance.

It turns out that the methods I’ve both learned from, and have presented in my books have a long history. They did not start with Charlie or even his teacher, but have been used to educate countless musicians over the ages, many of whom went on to become masters we still admire today. From looking at the Genealogy chart below you can see it’s an impressive list; virtually a Who’s Who of music running from the Baroque period through Classical, and Romantic and right up to Jazz. I am really amazed (and humbled) when I look at this.

Bruce Arnold's Music Education Genealogy Chart
Bruce Arnold’s Music Education Genealogy Chart

Although it is hard to find much information on exact teaching methods prior to Czerny, when I perused his various books it confirmed that many of the concepts he taught were also taught by Banacos, Bergonzi, Chaloff and Vergerov having been passed down intact, and one can assume that these ideas were picked up from their predecessors, such as Beethoven, Mozart, and Haydn, as well as anyone who had studied with them.

This certainly explains why some key elements that are found in my books appear in Czerny’s Complete Theoretical and Practical Piano Forte op 500 from 1839 as well. I found many basic concepts such as how to learn scales, arpeggios, ear training and rhythm could be traced from what I was taught by Banacos and Bergonzi back through to Czerny and presumably beyond. I did unearth an interesting concept used in the time of Czerny. In early music instruction a student had a lesson every day rather than once a week. This is precisely why I created muse-eek.com and offered free email interaction, so that a student can get answers to their questions immediately, without waiting for the next lesson. This ensures maximum productivity at practice time, between lessons. Banacos, who taught correspondence lessons, often told me that he never taught concepts such as ear training through correspondence because you needed closer interaction with a student to teach them correctly. Unfortunately, even though he was intrigued by computers and what they could do, Charlie was not computer literate. We spent many lessons discussing this. He was very curious as to how they could aid in the “multitasking” of musical study –and any student of Charlie’s would understand why!

My teachers’ main principals as great educators were compassion, humility, kindness and a deep sense of caring about guiding a student to fullest potential. Anyone who has studied with Charlie or Jerry would instantly recognize this in their character. I have attempted to follow in their footsteps.

From reading through Czerny’s books and comparing the education I received, here are some of the correlations I have found. I’ve also listed the relevant books or series of books available from Muse-eek.com that I’ve created to help my students master these aspects of their musical education.

1. A student should learn music theory and know what all the notes are on their instrument. Music Theory is a language that should be second nature. A student must learn both note names and degrees when working with various exercises. To help achieve this goal I created:

Music Theory Workbook for Guitar Volume One
Music Theory Workbook for Guitar Volume Two
Music Theory Workbook for All Instruments Volume One

2. Reading music on one’s instrument is essential, and reading through the music of the great composers is invaluable. I have created a comprehensive series of books on sight reading. The Time Series encompasses a wide range of books specifically addressing the rhythmic aspect of reading. I’ve also created the New York Guitar Method Ensemble Book Volume One and Volume Two which along with many other exercises includes classical music to read by such artists as Corelli, Bach and Beethoven.

3. Technical ease is not achieved through stress or tension. I always encourage ergonomic movement so that there is no wasted energy, or harmful fatigue. Playing through pain or simply holding an instrument incorrectly is a common mistake. I believe it is the main reason students may not attain the mastery they deserve. I wrote Right Hand Technique for Guitar to deal specifically with right hand issues along with the video course Guitar Physiology to demonstrate proper technique.

4. Learning essential scales, chord progressions and other patterns in all keys is crucial to mastering an instrument. This is a simple concept but completely ignored by many teachers. All of the books I have written stress the importance of learning the information in all keys and being able to hear this information in all appropriate key centers. Books such as Essential Scales, Sight Reading Solved, Chord Workbook for Guitar Volume One and Two and the 3 Volumes of Jam Tracks all contain exercises and MP3s that cover all 12 keys.

5. Music should be heard in key centers so it is necessary to learn everything in relationship to them. This is the main point behind my whole Ear Training Series and is the rosetta stone of understanding how to play music. When a student is playing a scale or any other combination of notes they should always hear these notes in a key center. The MetroDrone is a set of MP3s I recommend for every student to help them practice in this way.

6. I always recommend applying everything learned to a real life, real time musical situation. I use Jam Tracks Volume One, Two and Three along with the Direct Application books to get students to apply each technique they learn.

7. Articulation and embellishment are the keys to personalizing ones’ music. Each idiom has its set of articulations and embellishments. A student needs to learn these through transcription.

8. Practicing music in shorter periods throughout the day is better than one long marathon session. This is because our memory is engaged more by repeated short sessions, and we learn and retain information better.

9. Learning all the possible ways music can be notated is key to great sight reading ability. It also teaches you many articulations and embellishments that you can use in your playing.

10. Learning rhythm on an internal level is key to developing full musicianship skills. Through my Big Metronome, Odd Meters, MetroDrone and Time Transformation books I explore the key aspects of developing the ability to feel, rather than count music on various levels.

11. Classical composers were expected to improvise when they performed, although this practice fell out of style for a while. But improvisation plays a major role in musicianship, and indicates an understanding of structure as well as a high degree of creativity. Czerny called this preluding. By applying each thing you learn to an improvisational setting it helps spur artistic expression and an understanding of the techniques you explore.

12. Music must be learned on the micro and macro level especially when it comes to rhythm. My book Sonic Resource Guide explores a Macro understanding of all possible scales and their application. Neither Banacos, Bergonzi nor Czerny taught music using Pitch Class Sets but the way they approached the organization of musical ideas was right in line with the organizational principals of Post Tonal Theory. On the other hand much of my Rhythm Series which helps a student gain basic ability with rhythms. My Big Metronome, Doing Time Series and the MP3s found in MetroDrone which helps a student feel music and rhythm in a larger scope came directly out of ideas I learned from Banacos and the ideas of per mutating rhythms learned from Banacos as well were augmented and further organized via the computer program SuperCollider.

13. A student should use modal sequencing as a means to improve their technique but also to master scales and other musical patterns. Czerny’s books are full of modal sequences as a way to master scales. Both Banacos and Bergonzi basic concepts of learning were centered around permutation of everything ingredient of music. I furthered this idea by creating a series of books called ChopBusters that require a student to apply modal sequencing to common scales but also to various pitch class sets, thus obtaining a more modern sound.

14. You must learn music with a positive state of mind. It is a scientific fact that frustration leads to poor retention. Learning and practice should be an engrossing, joyful experience, not one filled with disappointment and feelings of inadequacy. Patience and self-tolerance will yield the most fruitful practice time.

15. A student should be encouraged through the example of their teacher to strive for playing and understanding music of the highest artistic standards. By checking out the Recordings Section of the muse-eek.com website students can see and hear the scope of recordings I’ve created to demonstrate both the standard and non-standard application of the techniques they are learning.

16. A student should work on a limited number of exercises so that they are not overburdened with too many exercises pulling them in multiple directions. This is a common problem with students who are dedicated, but make very slow progress due to taking on too much at once. Both Banacos and Bergonzi were known for the extra large assignment which they expected you to finish before moving on to the next concept.

17. Performing in front of people is an excellent way to put one into another context and stretch ones ability even it’s just for a friend, and is an under utilized tool for becoming a great musician. I often tell my students how I would play 5 duets a week with other guitarists for years to increase my flexibility, learn from others, and to play various types of music I might not necessarily gravitate to otherwise.

18. As I’ve stated earlier, music is like a language. Learning to express music naturally can be compared to speaking ones native tongue. There is no stopping to think about about individual words or grammar. It just flows.

19. A teacher should repeat the important rules over and over again until the student actually realizes their importance. I’m sometimes criticized that in my books and videos I keep repeating some important aspect of learning music. Through 30 years of experience in teaching I’ve found this is the only way to make sure a student understands a subject thoroughly.

20. In order to learn music you need contact with a teacher. You can’t expect to just go on YouTube and surf and find something that will fix some core problem in your musicianship that is holding you back. Even in Czerny’s time (the early 1800’s ) he was teaching students through letters when he could not do it in person. You can see an example of this in his “Letters to a Young Lady on the Art of Playing the Pianoforte.” Muse-eek.com does this through Skype and email to keep the distance learners in touch to make sure they are developing correctly.

21. By reading through Czerny’s books I can see that successful teaching techniques that I was taught, reach way back into the past and have been taught to many of the great musicians in history. Here are some of them:

  • Strive to be able to play all notes with equal velocity to acquire smoothness and musicality.
  • The ear develops more slowly than the eye; teach and learn accordingly.
  • Always learn a piece of music starting at a tempo that is comfortable. Once it is perfectly played, speed can be adjusted.
    This will avoid engraining poor techniques and mistakes.
  • If a piece of music is too difficult to learn then learn one element at a time and then try putting the whole piece together.
  • Do not try to play things that are above your level. Work up to these goals over time or play the pieces at an extremely slow tempo.
  • Solfeggio is an excellent tool for understanding and developing your ear when not using your instrument.
  • Correct, ergonomic fingering on any instrument leads to maximum proficiency.
  • Understanding that time and space are infinitely divisible. While rhythmic accuracy is of course important there is know end to the finding the exact correct placement of a rhythm. This is why human feel is so important to how music is performed and why both Banacos and Bergonzi stressed listen and learn the music of other great musicians.

22. Every scale or group of notes creates a number of modes equal to the number of notes in the grouping. Remembering that these groups in turn can create unique key centers and learning to think and hear these key centers is crucial to understanding music on a higher level. This is really the core of the ear training taught by Banacos. The common idea of learning a scale and then “thinking” this scale in situations where it is not the key center is a very unmusical and fruitless approach to learning music. For instance thinking a C Melodic Minor Scale over a B7 Altered chord is not recommended unless you are hearing the B7 Altered in the key of C. My Secondary Dominant book looks at the proper way to approach the learning of scales within a key center.

As I have stated before, in Czerny’s time it was expected that a master musician would be able to improvise not only on a given piece of music but be able to improvise a prelude that embodied the spirit, content and feeling of a given piece. I believe this is still true today. Another common practice from Czerny’s time was reading in all clefs which enabled smooth transposition and the ability to read any score. Charlie Banacos stressed this in my lessons making me read through Bach’s two part inventions in all clefs. It worked wonders.

I seem to be one of the only students who actually asked Charlie Banacos where he got his ideas for the techniques he taught. He recommended many books to me and you can find a list of those in the Further Investigations section of this website.

You can read more about me in the “About Bruce” page on muse-eek.com.

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2014 Guitar Intensive Workshop

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Guitar Intensive Workshop

2014 Guitar Intensive Workshop will be starting in 2014 featuring some top educators! Workshops throughout the year that will include weekend or full week intensives in various parts of the USA.

Guitar Intensive Workshop
Guitar Intensive Workshop

Guitar Intensive Workshop

A new Summer & Year-Round Special event Workshops which will combine cutting edge guitar education with private lessons and workshops by the finest world’s finest guitarists will be starting in the summer of 2014. These one week workshop offers courses covering a wide range of subjects and a diverse ensemble program tailored to the needs of the aspiring student of contemporary guitar. Here are our core faculty Mimi Fox, Alex Skolnick, Stuart Hamm and Bruce Arnold and we will soon be announcing the remaining educators.

Courses give an in depth look into the fields of music theory, time and improvisation and are geared towards the intermediate to advanced guitarist. Ensembles concentrate on sight reading, improvisation, solo guitar playing and other subjects important to a guitarist’s development. We also offer a wide range of master classes and performances that are scheduled weekly throughout the intensive. The courses and ensemble program are cutting edge and focus on developing a solid foundation in music theory, ensemble performance and sight-reading. The camp climaxes with full-fledged concert(s) in which both students and educators will participate.

These intensives will be located throughout the USA and then expand globally over time. If you have interest in this intensive please shoot us an email.

Guitar Intensive Workshop Information

You will find more specific information on courses, private instruction, ensembles, required books, daily events, application and audition information, meals and housing, fees and age requirements along with the bios of the participating faculty on our forthcoming website.e.

Unlike most summer guitar programs you will work with a highly organized approach to music. Much of the information you will work with is not available in any other college program or course. All courses are college level but are presented so that most high school age students will have no problem with comprehension. All instructors at this intensive have a proven record of educational expertise. Their music educational skills run the gamut from creating and running whole music programs at the college and pre-college level to music instructional books and DVDs. These clinicians also are seasoned live & studio recording guitarists.

Full and partial Scholarships are available for the cost of the workshop. If you have interest please contact us below.

Contact us for further information on anything presented here or if you have general questions.

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Bruce-Arnold-Guitar-Flutterby-25 Guitarist Bruce Arnold BLOG Logo jazz guitar Bruce-Arnold-Guitar-Flutterby-24 Guitarist Bruce Arnold BLOG Logo music education Guitar Intensive Workshop