REH, JAZZ SOLOS FOR GUITAR. Les Wise. CD TABLATURE
REH Pro Licks Book/CD Pack
Series: REH Publications
Softcover with CD - TAB
Artist: Barney Kessel
Artist: Joe Pass
Artist: Johnny Smith
Author: Les Wise
Artist: Tal Farlow
Artist: Wes Montgomery
Examine the solo concepts of top jazz guitarists in this info-packed book/CD pack. The CD includes full demonstration and rhythm-only tracks to assist with learning the styles of Kenny Burrell, Jim Hall, Barney Kessel, Pat Martino, Wes Montgomery, Joe Pass, Johnny Smith and many others. The book includes phrase-by-phrase performance notes; tips on arpeggio substitution, scale substitution, tension and resolution, jazz-blues, chord soloing and more; and standard notation and TABLATURE.
Table of Contents:
Introduction .
How to Use This Book .
Before You Begin .
Get in Tune .
Arpeggio Substitutions
(In the style of Wes Montgomery, Johnny Smith, and Jimmy Raney) .
Scale Substitutions
(In the style of Tal Farlow, Joe Pass, Herb Ellis, and Jim Hall) .
Tension and Resolution
(In the style of Pat Martino, George Benson, and Wes Montgomery)
Jazz Blues
(In the style of George Benson, Wes Montgomery, Tal Farlow, and Joe Pass)
Chord Soloing
(In the style of Barney Kessel, Kenny Burrell, Wes Montgomery, and Ed Bickert)
Virtuoso Guitar
(In the style of Joe Pass, Barney Kessel, and Johnny Smith)
Guitar Notation Legend
Introduction
Hello, and welcome to ProLicks Jazz Solos for Guitar. In this book, I'm going to walk you through six original guitar solos. Each one is based on classic lead (and rhythm) patterns used in jazz and is full of licks and ideas that you'll be able to use in your own playing. We'll cover a variety of styles and techniques-including arpeggios, scales, tension and resolution, blues forms, chord soloing, virtuoso-style fills, and more-giving you a solid foundation in playing and improvising jazz guitar. Many of the styles and techniques in this book are based on the masterful soloing of players like Wes Montgomery, Joe Pass, Herb Ellis, Tal Farlow, George Benson, and more. You'll be able to listen to me solo using many of their favorite techniques on the accompanying CD, then I'll dissect each and every solo, note for note, so that you can master these styles as well.
How to Use This Book
As you work your way through the solos in this book, you'll discover that there are a lot of short phrases that you can learn, lift out. and use in your own style of playing. In other words, you don't have to learn each solo exactly the way it was played on the CD. You can listen through the entire CD, hear everything that I'm going to play for you, then go back and pick out the phrases you like best. Then you can learn those phrases and incorporate them into your own style of playing. It's good practice to take all of these ideas and then mix them in with what you already know how to play. Of course, there are things to be learned by playing an entire solo: how the solo builds, how to make a transition from one chorus to the next, how to begin and end the whole thing. Those are elements of style that make the phrases fit together so that they actually sound good. But the individual phrases themselves can be picked out and used in practically any jazz solo. With a little tweaking, these phrases can also be used in songs with different tempos and in different keys. In addition to performing the six complete solos on the CD, I'm going to explain each one in depth, phrase by phrase. Each phrase will include Practice Points-detailed directions that will help you understand my note choices and give you ideas for coming up with your own solo phrases over the given chord progressions, using various tricks and techniques. Once you've listened to a solo on the CD, start learning it phrase by phrase using the Practice Points to help you. When you get through, you'll know all the phrases and be able play them along with the solo track or with the rhythm-only track at the end of the chapter-a full-band, minus-guitar track that's also included on the ProLicks CD. Playing along with the rhythm-only tracks will give you an opportunity to get a feel for how your phrasing sounds against a rhythm section and whether or not you're playing correctly. Plus, you can use these tracks to improvise your own jazz solos. Some of the phrases are easier than others. Some are slower; some are faster. Take your time. Practice each phrase as many times as you need to get it right. And most of all, have fun! Tuning notes for reference can be found on track 16 of the CD.
Before You Begin
The guitar sound in jazz is typically clean and warm, with a full-bodied tone and perhaps a touch of reverb. Set your amp clean, roll off the highs, and aim for a smooth, rich tone. The major jazz players almost all use hollowbody electric guitars, such as a Gibson ES-175, Guild Manhattan, or Gretsch White Falcon. But don't worry: If you don't have a hollowbody, you can still play jazz. Many modern jazz guitarists use solidbody guitars and sound just fine.
Also, traditional jazz players don't rely on bends as much as blues, country, or rock players, so they often use heavier gauge strings, which provide a meatier tone. Wound third strings are not uncommon in the jazz world, and while these strings are definitely bend-resistant, they help define the classic jazz guitar tone. Get in Tune First things first: Play Track 16 and tune your guitar to mine. That way, you can play along with the CD and sound great.
Recording Credits
John Shank, engineer
Les Wise, guitar
Craig Fisher, piano
Luther Yuze, bass
Joe Brencatto, drums
Examine the solo concepts of the Masters in this unique Book / CD package !
CD Includes full-demostration and Rhythm-only tracks
Styles of Kenny Burrell, Jim Hall, Barney Kessel, Pat Martino, Wes Montgomery, Joe Pass, Johnny Smith and many others.
phrase-by-phrase performance notes;
tips on arpeggio substitution, scale substitution, tension and resolution, jazz-blues, chord soloing and more;
standard notation and tablature.
Italiano
English
