Here are twelve studies that I wrote to practice hearing and feeling chord progressions. They are presented in two volumes, with six studies in each volume. They are based on chords and chord progressions found in jazz standards. Not only did I write the studies in keys well-suited to classical guitar, I also wrote voicings that placed the chord roots clearly in the bass, with other notes from the chord above the root. For the most part, I followed the chords found on lead sheets, though I occasionally made adjustments from what was written. I was concerned with the sounds of the chords and the chord shapes on the guitar. I was not concerned with creating melodies or melodic studies, and I varied the right-hand patterns just enough to keep things interesting without them becoming the main technical or aural focus.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t The studies in Contrafact Studies for Guitar, Volume I are based on chords found in the following jazz standards:<\/strong><\/p> I. It Could Happen to You by Jimmy Van Heusen and Johnny Burke<\/p> II. Have You Met Miss Jones by Richard Rogers and Lorenz Hart<\/p> III. Softly as in a Morning Sunrise by Sigmund Romberg and Oscar Hammerstien III<\/p> IV. On Green Dolphin Street by Bronislaw Kaper and Ned Washington<\/p> V. Days of Wine and Roses by Henry Mancini<\/p> VI. Alone Together by Arthur Schwartz and Howard Dietz<\/p>![\"\"](\"https:\/\/robertvierschilling.com\/wp-content\/uploads\/2020\/09\/Contrafact-I-title-page-page-001-791x1024.jpg\"){kind=spacer}
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