Jazz Improvisation for Guitar a Melodic Approach by Garrison Fewell Jazzy Lines

Jazz Improvisation for Guitar: A Melodic Approach by Garrison Fewell Must Have Melodies based on triads and melodic ex

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Jazz Improvisation for Guitar: A Melodic Approach by Garrison Fewell

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Melodies based on triads and melodic extensions sound more natural and musical than ones developed exclusively from scales. Triads - the fundamental building blocks of harmony - are a simple and effective remedy for scale dependency in improvisation. In Jazz Improvisation for Guitar: A Melodic Approach, explore the potential of triads and their melodic extensions and learn to connect them using guide tones. Youll learn to create solo phrases in the style of some of the worlds finest jazz guitarists like Wes Montgomery, George Benson, Grant Green, Kenny Burrell, and Pat Martino. Features: * Click here to view our Condition Guide and Shipping Prices My Personal Review: The method of using the triads and chord extensions, as taught in this book, in fact has been one of the fundamental improvisational approaches probably since the bebop era. Improvising using this approach is simply an effective way to imply the chord changes in a melodic manner. To supplement the concepts related to this approach which are systematically taught along the chapters, the crucial concept in soloing: guide-tone is also clearly explained in terms of voice leading. Check out the neatly executed example or the etude of 3-note voicings that is based on the chord changes of the jazz standard 'Beautiful Love' (p.81). Many etudes (with play-along tracks) in the book which elucidate the applications of this melodic approach, are based on the chord c hanges of: 'Just Friends' (p.64-65), 'Tune Up' (p.97), and 'Autumn Leaves' (p.120121). The solos in these etudes sound great, and they are fun to play and not difficult for the intermediate guitarist. One thing though, it is perhaps better to incorporate the materials in the Part III 'Harmonic Concepts for Improvisation', which are placed at the end of the book, into earlier chapters as the chapters that deals with dominant chords are good places to also learn altered tensions. Those of intermediate level who has finished this book and want to study a broader concept of jazz improvisation may want to check out Intermediate

Jazz Improvisation : A Study Guide for Developing Soloists : All Instruments, or the more advanced An Approach to Jazz Improvisatio n: A Step-by-Step Guide for All Musicians (Musicians Institute: Private Lessons).

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