- ISBN13: 9780970057617
- Condition: NEW
- Notes: Brand New from Publisher. No Remainder Mark.
Product Description
When improvising, what your mind hears is more often than not determined by what your body can reproduce on your instrument. Much of your conception as an improviser is determined by your technique. If you can’t play certain types of ideas, you are simply not going to conceive of them while you are improvising. Even if you could, it wouldn’t matter, since you couldn’t play them anyway. Serious chops building technical studies for single note lines and chords. ... More >>
{ 5 comments… read them below or add one }
Just an FYI for those who may not know. I didn’t see it mentioned anywhere but….YOU MUST BE ABLE TO READ MUSIC to derive any benefit from this book. There is NO TAB!!
Rating: 2 / 5
Não tive muita paciência para estudar esse livro. Ele tem coisas interessantes, as vezes me serve quando tenho que tocar alguma coisa (de algum outro livro), mas não sei muito bem uma maneira inteligente de digitar no braço.
Fora isso, se vc não lê muito bem (nada de tab) e não tem uma paciência fenomenal de ficar repetindo exercícios com metrônomo, vai apenas jogar dinheiro fora.
Muito melhor é o Jazz Guitar Structures, dessa mesma série, onde tudo é música de fato e imediatamente aplicável.
Rating: 2 / 5
This book delivers the goods as the title claims. Guitarists should also check out the following:
1) Mick Goodrick: The Advancing Guitarist (Hal Leonard)
2) David Keller: The Jazz Theory Handbook (Advance)
3) Scott Miller: Getting Into Jazz Fusion Guitar (Mel Bay)
Rating: 5 / 5
Dispite the great reviews of this book, I tend to agree with the review ” Usefull supplement, March 1, 2009″. Allow me to elaborate: I have been playing for about 20+ years and recently have been studying jazz guitar with a fairly capable instructor so I am becoming fluent in working through charts, more complex changes and soloing over these changes.
In my experiences so far, without the appication of when or how to use an exercise, it’s just a piece to memorize. This can, over the process of repetition, lead to some break throughs but it seems terribly inefficient to me and how does one digest a full book of examples with 6 lines of examples/exercises per page and over 100 pages of examples (600 lines of “stuff”)? Also, there is no real explanation of what is played over any given set of changes. This, to me, is a key aspect of understanding what lines, patterns, triads and arpeggios are being using and the results of using them.
Let me also add that every book, lesson, instructor, has a place depending on their skills sets and the level of understanding and technical ability of the student. So, I’m certain that this will work for some players — especially those far more diligent than I.
So, in summary, this book has it’s place and might be considered a reference manual for some lines to try over changes–but I’ll make a guess that there are better books out there for this type of application. My efforts are far better placed actually working on my voice through jazz changes and doing my best to tie them to the melody of the tune. This book did not catch my interest which is why I rated it as I did.
Rating: 2 / 5
This book is neither a method nor a standard exercise book. It’s not the sort of book to buy when you are starting out playing jazz.
It present no theory, and the exercises are presented in a manner that makes sense for developing figering but not for someone trying to learn jazz. The exercises have no harmonic logic to them.
The exercises themselves are all presented in standard notation, and where it’s important with an indication of the string one should be playing on, but there are no tabs so the book presumes one can more or less sight read music for the guitar. This means it’s not suitable for a begginer since almost no beginners will know the fretboard well enough to sightread the exercises.
The book is useful for developing jazz musicians who are trying to break out of the standard licks they have gotten in the habit of playing, or for jazz musicians who are tryint to break out beyond playing by ear or by tab to playing with a better note consciousness: knowing exactly what note you are playing rather than just your relative position in the scale.
So it’s a usefull book, but probably not in the top ten in terms of usefullness, and it’s of no use at all for beginners.
Rating: 3 / 5