Do you wonder why lots of practice on scales and arpeggios hasn't made you feel fluent and creative when soloing? If so, then this book is the missing link for you!Line Games is an organized series of practical studies for the development of single-note guitar technique and jazz vocabulary simultaneously.Many examples are transcribed from the recorded solos of great jazz guitarists (Wes Montgomery, Pat Martino, Joe Pass, etc.) and then the book gives you the tools to develop complete fluency in creating similar lines on your own!Topics Covered Include: Basic six-note scales commonly used by the jazz greats. * How to use all of the chromatic notes to make playing "inside" the chord changes sound more interesting and melodic. * Triad pairs for modern-sounding lines, as used by all the great players from Coltrane on. * Exercises that will give you the tools to create many interesting chord extensions from a few simple arpeggios. * How to build long lines across many chord changes. * How to use thematic development for more cohesive solos. * Fingerings often given to aid in getting these lines under your fingers. * Plus much more!
Jazz Guitar Voicings Randy Vincent Pdf 51
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For all instruments, this adaption of Randy's last guitar-oriented book (Jazz Guitar Soloing: The Cellular Approach) allows players on any instrument to reap the benefits of Randy's encyclopedic knowledge of the nuts and bolts of jazz soloing."Building Solo Lines from Cells" is a practical method for developing the ability to create convincing jazz solos in a wide variety of playing situations.It takes actual jazz lines recorded by master players and then slices them up into small "cells" that can be re-combined into longer lines to fit almost any harmonic situation.This enables the player to improvise his or her own lines that sound just as interesting and melodic as the masters without resorting to simply copying others.Some of the harmonic situations dealt with include: - Fast-moving cycles such as the bridge of "Jordu" - Chromatic II-V changes - Turnarounds, including many that are useful for dealing with "rhythm changes" - Jimmy Heath's "C.T.A." changes - John Coltrane's "Giant Steps" changes. - In addition, slower moving II-Vs are covered, using various strategies for stringing together the short cells into long flowing lines. - There is a complete discussion of how to break out of diatonic-derived lines by using the cellular approach to create "side-slipping" and other intervallic lines — creating ultra-hip solo phrases in the style of modern masters such as Pat Metheny, Michael Brecker and Herbie Hancock.Finally, the cell concept gets transcended as twelve tone rows in the style of Mike Stern and others are explored, as well as lines derived from "23rd chords" — for the adventurous that are interested in paving a way into the future.NOTE: A guitar edition is available as "Jazz Guitar Soloing: The Cellular Approach." To find it, search JGSCA in our search field.
As a self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music.[6] He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands, later switching to electric guitar. His debut studio album with the Mothers of Invention, Freak Out! (1966), combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical. 2ff7e9595c
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