Mel Bay S Deluxe Encyclopedia Of Jazz Guitar Runs Fills Licks Lines

This comprehensive text provides the guitarist with material in the styles of the great jazz artists for study and analysis. Once memorized, the 2-4 bar phrases presented here become an excellent aid to ear training, and can be applied in ways that enhance one's own improvising ability. While written specifically for the guitarist in standard notation and tablature, these licks and runs can be played by other treble-clef instruments to obtain the same goals and benefits

This comprehensive text provides the guitarist with material in the styles of the great jazz artists for study and analysis. Once memorized, the 2-4 bar phrases presented here become an excellent aid to ear training, and can be applied in ways that enhance one's own improvising ability. While written specifically for the guitarist in standard notation and tablature, these licks and runs can be played by other treble-clef instruments to obtain the same goals and benefits

An interval is the distance between two notes measured in whole and half steps. When we stack intervals one on top of another, we produce chords. If we play the intervals in the chord one after another, we produce an arpeggio. But since all intervals, chords, and arpeggios are generated by scales, it follows that scales are the basis of all music from these scales we will find our JAZZ LINES, which is what this book is about. The following is a list of most of the jazz scales the student will encounter as he becomes involved in the study of improvising. When we improvise, we use as our weapons the scale, harmony and melody. The two dimensions in music are the harmony (vertical) and melody (horizontal). It is highly recommended that every student of improvising, know his scales in all positions and a variety of chords that the scales generate. All scales should be played in at least four positions especially the 1st position forces one to learn the theory. All other position pattern scales must be transposed throughout the guitar. The author has written a few pages in the beginning of the book serving as a prerequisite for the jazz lines to follow. It is essential that the student know the scales, key signatures, intervals, and chord constructions that will be used throughout the book. In order to benefit fully from this approach to jazz, the student must understand the full meaning of the words practice and analysis. Most students confuse practice with playing or reading through the exercise. To really improve and absorb the material, every phase must be practiced. This means the fingering must be committed to memory, slowly at first and then as fast as technique allows. The idea must be so ingrained in the mind that it flows from any part of the fingerboard that the performer desires. This is the way great players approach an idea – from any fret, string or position! If there is no harmonic or melodic analysis of the material being studied, then the learning skill becomes superfluous and there is no comprehension and absorption, and without this proper digestion the performer cannot use it as his taste dictates. All of the great players, have had a great technique and this is the first goal of the young student – “great chops.” As the student matures, musicianship will grow but technique is at the grasp of all who seek it. Start today to acquire it!

This book is more than just a catchy collection of jazz guitar licks. It presents a teaching concept which relates a great-sounding guitar phrase to a typical chord progression and also to a typical standard tune. All examples are in notation and tablature and are applicable to pick or fingerstyle jazz.

Learning the Classic Guitar is a new direction in guitar instruction. Many ideas in these books break new ground. In developing this innovative method, Mr. Shearer adhered to the following concepts: 1) How and what students practice is as important as how much they practice. 2) Give information only when it is immediately useful. 3) Start with the easiest skills. 4) Approach challenging skills gradually. Part one focuses on technical development and explains the most efficient approach to study and practice. Part two should go along with part one and it presents the elements of music and procedures for developing ability to sight-read and memorize. It also introduces the visualization concept. Part three teaches the student to form clear and accurate concepts of music expression. It also teaches the guitarist how to perform in public with accuracy and confidence.

This book gets straight to the point -- learn jazz by playing jazz, not scales and arpeggios. Contains over 40 lines, licks and phrases. You will learn how to build your own lines, connect lines to create phrases, and use them over chord changes. Written in standard notation and tab.

An important addition to the improvising jazz guitarist's library, this thoughtful blend of text and musical examples focuses on the vocabulary of modern jazz and some of the applications of modern harmony. with examples written in standard notation and tablature, Jacobs offers instruction on bebop style phrases, playing fourths, inside-outside playing, pentatonic, whole-tone and symmetrical scales, slash chords, polychords, hip lines, fingerings and much more. the companion CD presents the material in the text played with chord accompaniment.