Dan Andersen is an Austin, Texas based guitarist who performs with the Temple Jazz Orchestra. Some of the Austin venues which he has worked include The Elephant Room, Brass House, One-2-One Bar, and Central Market North. Additionally, he has performed at the Brownsville Latin Jazz Festival, and Houston’s premier jazz club, Cezanne. As a leader, he recorded the album The Spark and appears as co-leader with trombonist Marco Katz on the EP entitled In New Orleans, the 2022 Composer’s Collective’s The Heights Life, and as a side musician on Julia LaShae’s album Introducing… which was voted the #3 album of 2003 in New Orleans by the Times-Picayune. As part of the New Orleans music scene he performed at the city’s premier jazz club Snug Harbor as well as The Bombay Club, The Spotted Cat Music Club, The Blue Nile , Dos Jefes Uptown Cigar Bar, and Rock ‘n’ Bowl. On the festival circuit, Dan appeared in Northern California at Center Arts, Bebop and Brew, and the Redwood Coast Jazz Festival. In 1995 his quintet was the featured musical performance at the Dell’ Arte International Mad River Festival. He holds a doctorate in studio/jazz guitar from the University of Southern California Thornton School Of Music and teaches electric guitar at Temple College.
Awards
Outstanding Guitarist -1997 Pacific Coast Collegiate
Jazz
Festival
Gear
Ibanez, Epiphone, Godin, G&l, Music Man, Reverend
Rivera, Fender, Carvin, and Gallien Krueger amps
Roland, George L's,Xotic, Fulltone,TC Electronic, DigiTech, MXR, Goodrich, Boss, Dunlap
Take Five With...
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On the Marco Katz & Dan Andersen EP
In New
Orleans:
“Here are four musicians who breathe the soul of American
jazz. That the recording took place in New Orleans was
appropriate as this is the place where the music was
incubated, and here is its latest incarnation. That is
not to say that it in any way copies the traditional
styling of the original era except to the extent that the
DNA of that period is still in the ears of these four.
Your half hour will be well spent and repeated over and
over!”
Mordechai Cohen
Jazz Artist, New York City
Primary Instrument
Guitar, electric
Location
Austin
Willing to teach
Beginner to advanced
Credentials/Background
Instructor at Temple College
Doctorate in Studio/Jazz Guitar: University of
Southern California
Instructor of Electric Guitar, Temple College
Master of Music in Jazz Studies: University of New Orleans
Bachelor of Arts in Music Education: Humboldt State
University
All Levels
Clinic/Workshop Information
Jazz Guitar Improvisation: Beginning with Guide-Tones
This clinic is based of the principles discussed in the
December 2010 article: Jazz Guitar Improvisation:
Beginning with Guide-Tones published in Revista
Electrónica de LEEME - Journal of Music in Education
Download the article as a PDF at:
http://musica.rediris.es/leeme/revista/andersen10.pdf
http://musica.rediris.es/leeme/revista/andersen10.pdf
Abstract
This article discusses an approach to teaching linear
improvisation to beginning jazz guitarists through the
function of
voice leading in harmonic progressions
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Primary Instrument
Guitar, electric
Location
Austin
Willing to teach
Beginner to advanced
Credentials/Background
Instructor at Temple College
Doctorate in Studio/Jazz Guitar: University of
Southern California
Instructor of Electric Guitar, Temple College
Master of Music in Jazz Studies: University of New Orleans
Bachelor of Arts in Music Education: Humboldt State
University
All Levels
Clinic/Workshop Information
Jazz Guitar Improvisation: Beginning with Guide-Tones
This clinic is based of the principles discussed in the
December 2010 article: Jazz Guitar Improvisation:
Beginning with Guide-Tones published in Revista
Electrónica de LEEME - Journal of Music in Education
Download the article as a PDF at:
http://musica.rediris.es/leeme/revista/andersen10.pdf
http://musica.rediris.es/leeme/revista/andersen10.pdf
Abstract
This article discusses an approach to teaching linear
improvisation to beginning jazz guitarists through the
function of
voice leading in harmonic progressions.
The student may gain a clear understanding of
improvising melodies by establishing clear visual and
aural relationships between the chordal and melodic
textures. Three dominant 7th chord voicings are
introduced and applied to a twelve bar blues progression
in F major. After learning the rhythm guitar
accompaniment, single note guide tones consisting of the
flat 7th and 3rd chord tones of each dominant seventh
chord are extracted from the chord voicings and applied in
a melodic texture following chromatic voice leading
principles within the harmonic progression. Musicality
within the exercises is increased by the addition of a
series of rhythmic variations that are applied to the guide-
tone lines. Continuing with the concept, full dominant
seventh arpeggios are introduced in order to expand the
available note choices as a way to build a solid
foundation for improvising within
harmonic progressions prior to using diatonic scales.
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